I decided to launch a new series to imagine myself as a
critic at the end of the 60s and start of the 70s, and to rectify certain
reviews from Rolling Stone magazine and Creem. This not meant to be contrarian,
but to offer a more balanced perspective. All the albums reviewed are indeed
classic albums.
****
Producer: Sly Stone
Musicians: Sly Stone, Rosie Stone, Freddie Stone, Larry
Graham, Greg Errico, Cynthia Robinson, Jerry Martini, Vet Stone, Mary McCreary,
Elva Mouton
Songs and Music: Stand!, Don’t Call Me Nigger - Whitey, I
Want To Take You Higher, Somebody’s Watching You, Sing A Simple Song, Everyday
People, Sex Machine, You Can Make It If You Try
Reviewed By Matthew Anthony Allair
Sly Stone’s first three albums have been moderate successes.
In spite of the success and charm of ‘Dance To The Music, and to a degree
‘Life’, so this album feels like they have turned a corner. It is concise,
focused, seems to capture the spirit of the band, and seems very candid in it’s
social relevance. I would like to offer a rebuttal with peers that have
compared this band, The Family Stone, to Frank Zappa’s Mothers. I don’t hear it
and I think comparisons seem superficial. Zappa’s brand is built on cynicism and
sarcasm, and while it’s all brilliantly executed with The Mothers. The whole
vibe with Family Stone feels very different. Sly’s ideals are to blend folks of
different genders and races together through music, and demonstrate that unity
is possible, and make no mistake, there are several great players in his band.
Sly’s song writing has become so adept at taking something catchy yet so
present to the now.
The opening title track, ‘Stand’ is a statement of purpose
and offers some pearls of wisdom where things stand, then the track ride out
takes things to an entirely new level. ‘Don’t Call Me’ is a very pointed
number, a funk tune that perhaps takes the spirit of James Brown to the next
stage. “I Want To Take You Higher” has become one of the perennial singles for
the album, the opening blues riff jumps into an infectious groove with nods to
James Brown. On the surface, “Somebody’s Watching You” appears to be a
whimsical pop number with some strong organ runs, but there’s a social comment
that drives the number.
The second half opens with the strong number, “Sing A Simple
Song”, a number that allows many members to contribute vocally, and another
clever groove. “Everyday People” has become the other perennial single, a
simple groove that supports the lyrical point. “Sex Machine” is a funk-based
jam that sits around two chord changes with an odd scat vocal processed through
effects, Wah and fuzz guitar leads, and saxophone, Greg Errico is allowed to
shine especially towards the end, and there’s some nice interplay on guitar
between Sly and Freddie. “You Can Make It If You Try” is another fun and apt
closer for the album. The whole of Sly’s stance seems to be ‘if you believe in
nothing, you’ll fall for anything’, and this is a wise position during
tumultuous times.
Sly Stone’s ability as a songwriter has really evolved, and
this album is that needed showcase, the whole band is a revelation and as
equally talented as Sly. He’s offering another perspective in the counterculture
movement, and it’s just as valid. Recommended.
Sly & The Family Stone: Greatest Hits (1970)
****
Producer: Sly Stone
Musicians: listed on prior albums
Songs: Everybody Is A Star, Hot Fun In The Summertime, Thank
You (Falettinme Be Mice Elf Agin)
This review isn’t going to focus on prior album tracks, but
the three singles featured in this compilation. “Everybody Is A Star” is a
lovely ballad RNB fused mood that shifts into a steady groove in the vamp. All
of the key singers of the band are featured on the track. It has a positive
pathos that is uplifting. It has been awhile since I have heard something as
infectious as “Hot Fun In The Summertime”, or as well crafted, while Sly has
most of the vocal focus, the other members manage to hold their own vocally. As
a guitar and bass line up, Larry Graham, Sly and Freddie Stone are the
centerpiece of this funk groove with “Thank You (Falettinme Be Mice Elf Agin),
the song features some clever lyrical nods to prior songs, and the horns weave
around this dance number. Sly continues to evolve and improve as a writer and
visionary. I will be curious to see where this goes in the new decade.
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