I Can Never Go Home Anymore 45 by The Shangri-Las

August 18, 2011

The Shangri-Las produced a number of straight pop hits but they remain best known for their songs of teen angst; the most memorable being the number one “Leader Of The Pack.”

“I Can Never Go Home Anymore” was their third and last single to reach the top ten. Released November 6, 1965, it reached number six on the BILLBOAED MAGAZINE Pop Singles Chart.

The lyrics tell the story of love lost, which would represent the highlights of their career.


Dance To The Music 45 by Sly & The Family Stone

February 20, 2011

“Dance To The Music” was the song that jump-started Sly & The Family Stone’s career. Released February 10, 1968, it reached number 8 on the BILLBOARD MAGAZINE Pop Singles Cart.

The best way to describe Sly & The Family Stone is as a psychedelic soul group. Led by Sylvester “Sly Stone” Stewart, they would produce some of the best and most influential music of the late 1960-s through the first half of the 1970’s. Their performance at Woodstock was legendary.

“Dance To The Music” was emblematic of the first half of their career as the song was a joyous fusion of rock and funk. Bass player Larry Graham, who would go on to a solid solo career, was the foundation upon which the sound was built.

Over 40 years after its initial release, the song still makes you want to get up and dance along.


Everyday People 45 by Sly & The Family Stone

December 22, 2010

At one time Sly & The Family Stone mattered. Ther were a cutting edge R&B/Funk band who were inducted into The Rock And Roll Hall Of Fame in 1994.

They also were responsible for some of the most cutting edge socio-political lyrics of the late sixties and early seventies.

“Everyday People” was their biggest hit topping the BILLBOARD MAGAZINE Pop Charts for four weeks during late 1968 and early 1969. It was an upbeat and funky tune that featured Sly’s keyboards/vocals, guitarist Freddie Stone, bassist Larry Graham, drummer Gregg Errico, trumper Cynthia Robinson, and pianist/vocalist Rosie Stone.

It remains a nice slice of late sixties music.


Ain’t But The One Way by Sly and The Family Stone

June 9, 2009

It is a little unbelievable that Sly Stone has not released a new studio album in 26 years (and counting). Ain’t But The One Way, released in 1983, was the last gasp from one of the originators of funk music and a member of The Rock and Roll Hall Of Fame.

1981 found Sly and George Clinton in the studio together working on a new Family Stone album. Clinton had a dispute with Warner Brothers which caused him to leave the label, effectively ending the recording sessions. Sly also disappeared and WB hired outside producer Stewart Levine to make some sense out of what had been left behind. Two years later the finished album was released. It was not the best way to put an album together. Even the cover photo was almost five years old. Needless to say it was a commercial failure.

Sly Stone has remained practically a recluse for the past quarter century. He contributed to ex-Time member Jesse Johnson’s hit single in 1986 titled “Crazy.” He released one single himself, “Eek-A-Bo-Static,” for the A&M label but it quickly disappeared. In 1987 he spent time in prison for cocaine possession. Rumors have surfaced for the last decade that he has been working on a new album but no new material has surfaced.

And so Ain’t But The One Way remains Sly Stone’s swan song, which is unfortunate as it is by far the weakest studio album of the eleven he recorded during his career. Given the circumstances it’s not surprising that it has an unfinished feel. There are hints of ideas under the surface but Stewart Levine was never able to bring them to fruition.

Many of the tracks follow the formula that Sly established and in doing so remain pale imitations of his best work. Songs such as “One Way,” “Hobo Ken,” and “L.O.V.I.N.U.” establish a comfortable groove and use some horns and a bass line in places but just never coalesce into anything interesting. The song that may somewhat up the whole dismal affair is a cover of the Kinks, “You Really Got Me.” If there was ever a song that was immune to a funk treatment this is it.

The only interesting track is “Who In The Funk Do You Think You Are” which fuses funk rhythms with a rock sound. This may have been an area that Sly was going to explore, but we’ll never know.

As of 2009 Sly Stone is still out there somewhere and who knows, maybe he has one more good album left in him. If not, we will have to be content with the likes of Stand, There’s A Riot Goin’ On, and Dance To The Music which form the core of a small but extremely brilliant and influential catalog of music.


Back On The Right Track by Sly and The Family Stone

June 9, 2009

By 1979 Sly Stone had lost his money, his family, and his career. His label, Epic Records, had dropped him from their roster for lack of commercial success. His chronic tardiness and no shows for concert dates made it difficult for him to find work. It was against this background that he signed a contract with the Warner Brothers label.

Back On The Right Track was released by Sly & The Family Stone on November 3, 1979. The title represented Sly trying to reassure his fan base that everything was now OK and that the music would once again be as creative and relevant as it had been in the past. It may also have been Sly trying to convince himself as he had been down this comeback road before and would travel it again in the future. The problem was that Sly was not OK and would never be so again at least down to the present day.

All of Sly’s post Fresh work would always be found wanting as it did not come close to equaling the music from his classic albums. Anytime Sly Stone entered the studio after 1975 he had the legacies of There’s A Riot Goin’ On and Stand hanging around his neck.

Back On The Right Track is solid rather than brilliant. While it has a funk foundation to it, there is a definite lack of energy. There is also a sameness to many of the songs. When you combine all this with its shortness, just under 27 minutes, I can’t help but think that there is a basic laziness to it.

There are no truly great songs yet the album is listenable. Thirty years after its release it is representative of its time. Maybe its because I have probably not listened to it since its release or that it is now far enough removed from its predecessors to stand on its own.

There are a few tracks that stand a little above the rest. “Remembering Who You Are” has a nice groove as Sly pens some more autobiographical lyrics. At the time they were hopeful but today they ring a little hollow. “Shine It On” has some interesting keyboard sounds and may have been a direction Sly should have explored a bit more. “Sheer Energy” with its harmonica sound, also presents a nice funky groove.

This was the first album that Sly did not produce himself which may have hurt. I can’t help but think that while Cynthia Robinson and Freddie Stone make appearances, it is the absence of his original group that hurt him the most as they were able to turn his visions into brilliant reality.

In the final analysis Back On The Right Track will always be an afterthought for Sly & The Family Stone and that’s as it should be. It does prove that there ultimately comes a point when you cannot go back.


Heard You Missed Me, Well I’m Back by Sly and The Family Stone

June 9, 2009

Heard You Missed Me, Well I’m Back was the ninth and last album of original material that Sly Stone recorded for the Epic Label. 1975’s High On You had been credited to only Sly so now he returned to a group concept. The problem was The Family Stone, except for vocalist and trumpet player Cynthia Robinson, was long gone. A bevy of musicians were brought in to give the appearance of a working group, but ultimately it came down to basically another solo effort.

Sly continued to have problems outside the studio. Bankruptcy, divorce, and continual drug use led to him constantly missing concert dates. Musically the title was a statement that he was returning to his old style of music. In reality there were a few funk tracks but many of the songs came perilously close to a pop sound. It all added up to a critically panned album and a commercial disaster. It did not even make the Billboard top 200 and caused his long time label to drop him from their roster of artists. Likely adding insult to injury was that his former bass player, Larry Graham, and his group Graham Central Station, were a top selling funk group at the time.

This is yet another Sly album that I have not listened to in decades. When I place it in context of what was being released in 1976 it does not compare well. There are really only three tracks that have merit. The title song is the best of the lot. It is a classic funk track with a nice brass sound woven around very danceable rhythms. “Blessing In Disguise” has a mellow groove and an excellent lead vocal. “Everything In You,” likewise, has a nice vocal but its intertwining of horns and strings is what makes it interesting.

“Family Again” may be the weakest track and for some inexplicable reason was chosen as the lead — and what would be the sole — single release. In addition to just being boring, it featured Peter Frampton, which has got to be one of the odder pairings of the seventies.

Many of the other tracks just don’t measure up. In some ways they have an incomplete feel as ideas and themes are present but just don’t appear to have been properly finished. “Mother Is A Hippie” has a jam at the end that never settles down. “Nothing Less Than Happiness” has a nice bluesy feel but the vocal is weak. “Let’s Be Together” is Sly trying to fit into the popularity of the disco era.

Heard You Missed Me, Well I’m Back is a title Sly could ultimately not live up too. Except for a few decent songs it deservedly is a forgotten release. Today it is desired only by completists who wish to round out their Sly & The Family Stone collection.


High On You by Sly and The Family Stone

June 9, 2009

Sly Stone returned in late 1975 with what was essentially a solo release as the album does not officially credit Family Stone members yet still boasts the band’s name. It would set the tone for the rest of his career as, upon occasion, he would use former Family members but would mainly hire session musicians to fill in the sound where needed.

1975 found disco on the rise and funk established as a commercially viable musical form. High On You would be a product of its time. It may not have been cutting edge but it contained some pleasurable and accessible funky moments. It was now such groups as The Ohio Players who were breaking new ground as a listen to their Skin Tight, Honey, and Fire albums will quickly verify.

In some ways it is amazing that Sly was able to produce an album at all. Drugs and the disintegration of family and group had taken their toll. While not of the caliber of such classics as Stand, There’s A Riot Goin’ On, or Dance To The Music, it proved that he could still produce credible and listenable music.

The first three tracks are excellent. “I Get High On You,” which is sort of an autobiographical connector between drugs and women contains pop/funk rhythms and is as energetic as anything Sly would produce during the seventies. “Crossword Puzzle,” with its often humorous lyrics, is another party song which Sly was so expert at crafting. Here it is the use of brass that drives the song along. “That’s Lovin’ You” is the only true ballad on the album and Sly manages a clear voiced and emotional performance. If the other seven tracks had been as good we may have had something here.

“So Good To Me” does contain a nice bass line and “Green Eyed Monster Girl” has some interesting keyboard work that meanders in and out of the mix throughout the song. However, such songs as “Le Lo Li,” “Greed,” “My World,” “Organize,” and “Who Do You Love?” are basically Sly trying to reinvent himself and only ending up as a shallow imitation of his best work.

When thinking of the music of Sly & The Family Stone, High On You is usually a forgotten afterthought. In fact, my vinyl copy does not leave the shelf. It is, however, interesting in places and a good example of seventies music. In the final analysis, though, it remains an inoffensive but ultimately non-essential release.