Posts Tagged ‘Sly Stone’

The Most Disturbing Halloween EVER!: Sly & the Family Stone

That’s right, folks, the most disturbing Halloween EVER! From now until Halloween, the Popdose staff are going to be thumbing through their record collections in search of the music that gives them the worst case of the heebie-jeebies. In this installment, Robert Cass looks at Sly & the Family Stone’s There’s a Riot Goin’ On. —Anthony Hansen

“Everyday People” entered the Billboard Top 40 on January 4, 1969. Six weeks later it was the number-one song in the country, holding onto the top spot for an entire month. The lead single from Sly & the Family Stone’s upcoming album Stand!, it espoused “different strokes for different folks,” with the group’s leader, Sly Stone, assuring listeners that “I am no better and neither are you / We are the same whatever we do.”

Later that year the “psychedelic soul” band from San Francisco — featuring black, white, male, and female members — played the Woodstock festival, taking the stage at three in the morning on August 17 with inspirational anthems like “You Can Make It If You Try” and “I Want to Take You Higher,” which quickly moved the predawn crowd out of their sleeping bags and onto their feet.

In hindsight, it was as high as Sly & the Family Stone would go.

On January 10, 1970, their first single of the new decade, the double-A-sided “Thank You (Falettinme Be Mice Elf Agin)” and “Everybody Is a Star,” landed in the Top 40, and within a few weeks had become the band’s second chart topper.

Ushering in the era of bottom-heavy ’70s funk dominated by bands like Earth, Wind & Fire and Ohio Players, “Thank You” featured a harder sound than the Family Stone’s previous hits, with Larry Graham’s percussive thump-and-pluck bass dominating the track alongside Cynthia Robinson and Jerry Martini’s trumpet-and-sax combo. Sly’s lyrics weren’t exactly relegated to the background, but expectations of good-time vibes from the group that recorded “Dance to the Music” tended to obscure lines like “Flamin’ eyes of people fear burnin’ into you” and “Dyin’ young is hard to take / Sellin’ out is harder.”

The lyrics that typically stand out on first listen are the titles of previous Family Stone hits incorporated into the third verse: “Dance to the music all night long / Everyday people sing a simple song.” It comes across as playful — a clever summation of the Family Stone’s triumphs in the decade just ended.

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Unsolicited Career Advice for… Tupac Shakur

Hip-hop music is not typically Uncle Donnie’s thing, nor is hip-hop slang, nor hip-hop fashion. Basically, Uncle Donnie doesn’t understand hip-hop, though he does try. Apparently, he doesn’t read much about it, either, because he’s still wondering why he hasn’t heard back from Tupac, whose estate received the following missive from Uncle Donnie about a month ago. —RS

TO:  Tupac Shakur
FROM:  Don Skwatzenschitz
RE:  Career advice

Hi, there, Pac. You might not remember me, but we ran into each other in the men’s room at the Palladium back in ‘94, at a Janet Jackson show. Wasn’t she great that night? My God, the sheer athleticism of that show—now there’s someone who has talent, who never has to stoop to silly publicity stunts (like, you know, public nudity or something) just to get people to listen to her music. Awesome. Though, I did really want to see the end of her show but couldn’t, because that one overly eager bodyguard of yours snapped my collar bone like he was breaking a pencil. But I let bygones be bygones, you know? Life’s too short.

So here it is, 2009, and I’m just now hearing the last record you put out, Pac’s Life, from 2006 (my wife Mitzi and her hip-hop tai chi class use “Playa Cardz Right” in their “2zday Mix”). What amazing poetry you, um, drop. Bringing in T.I. and Ashanti on the track “Pac’s Life” was a stroke of genius too, uh, playa. They’re totally hot right now. Why haven’t you done anything in the last two or three years? I went back to some of your other records, and was just floored by your delivery and the way you bring in these awesome guest stars and producers. “Fuck ‘Em All,” from Better Dayz? Talk about universal sentiment, uh, dawg. And “Thug N U Thug N Me,” from Until the End of Time is my new anthem. I’m even getting a t-shirt made with that on it.

Anyway, uh, homie, I think you need to get back out in front of people again, and I have some ideas to help you do just that. Be open-minded, though—some of these might seem odd, particularly to an obvious recluse like yourself. Just hear me out, though, um, yo. Check out this, uh, fly shizznit: (more…)

DVD Review: Parliament-Funkadelic, “1976 Live: The Mothership Connection”

The parallels between 1976 and 2008 are undeniable. Back then, the economy was in shambles, suffering through a wicked bout of inflation. Late in the year, hope arrived in the person of Jimmy Carter, a Democrat who was elected president to put an end to eight dark years of Republican rule. Sound familiar?

Sadly, no such parallels exist within the music world. In 1976, record companies were on the verge of seeing some of their biggest sales ever. Artistic giants prowled the stages of the world. Concert venues were sold out everywhere. New York City was soon to give birth, nearly simultaneously, to both the disco and the punk movements, even as the city faced financial ruin.

Elsewhere on the musical landscape, funk was in its ascendancy, and the undeniable kings of the genre were Parliament-Funkadelic. George Clinton had founded Parliament as a barbershop quintet back in the ’60s, and that is literally what they were, as Clinton earned a living my styling hair while rehearsing with the vocal group. Parliament had a #3 R&B hit in 1967 with “I Wanna Testify,” but the winds of change were blowing, and it wasn’t long before Jimi Hendrix and Sly Stone showed up on the scene to change things forever. Of course, no discussion of funk can even begin without talking about the man who invented the genre, and James Brown was at the peak of his powers.

It was a combination of these musical influences, together with the rise of the black power movement, and the availability of psychedelic drugs that informed Clinton’s next move. While Parliament continued on, he created a rock band that he called Funkadelic. They toured the northeast, often sharing the bill with white bands like the Stooges, and the MC5, and also hit the black college circuit in the South and on the East Coast.

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