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Sly Stone

Sly Stone

Singer, songwriter, producer

For the Record

Formed Family

Revolutionary Thinking

Trouble

Courageous Honesty

Faltered in 70s

Musical Output Dwindled

Selected discography

Sources

With his groundbreaking group Sly and the Family Stone, Sylvester Stewartor Sly Stone, as he came to be calledpioneered the psychedelic funk sound that would electrify the Woodstock generation of the late 1960s and profoundly influence the direction taken by rhythm and blues and, in the subsequent decades, other black music forms from soul to disco to rap. While Stones flamboyant persona, uplifting songs, and ethnically diverse band earned a massive following, political and personal difficulties hampered his career and eventually drove him out of the music scene. During the most intensely productive segment of his career, however, he was, according to pop music critic Dave Marsh, one of the greatest musical adventurers rock has ever known.

Sylvester Stewart was born in Dallas, Texas, in March of 1944. He began his recording career earlyat age fouras a vocalist on the gospel tune On the Battlefield for My Lord. In the fifties his family moved to the San Francisco area. Stewart and his brother Freddie learned to play various instruments and made music under the name the Stewart Four. Stewart also played and sang with doo-wop groups. In high school he sang with a group called the Viscanes, appearing on their record Yellow Moon. At age sixteen he made a solo record called Long Time Away which gained him some modest fame. As a student at Vallejo Junior College he learned music theory and composition, putting what he learned into practice at weekend performing gigs.

At a show in 1964 Stewart met Tom Big Daddy Donahue, a disc jockey from San Francisco. Donahue told him about a record label he had formed with another former DJ. Stewart agreed to join the new venture, Autumn Records, and after cutting a few records of his own began to develop his talents as a producer. Working with bands like the Beau Brummels and the Great Societythe latters singer, Grace Slick, would later front the psychedelic supergroup Jefferson AirplaneStewart honed the studio skills he would later put to considerable use with his own group. In 1966, though, he left Autumn Records and became a disc jockey at radio station KSOL in San Francisco. He soon gained notoriety as one of the more eccentric voices on radio, blending sound effects with public service announcements and mixing soul singles with rock and roll records by Bob Dylan and the Beatles. According to Irwin Stambler in the Encyclopedia of Pop, Rock & Soul, by the time Stewart moved over to Oaklands station KDIA he was generally considered the top R & B commentator in the area.

For the Record

Born Sylvester Stewart, March 15, 1944, in Dallas, TX; married Kathy Silva, June 1974 (divorced, 1974); children: Sylvester Bubb Ali Stewart, Jr. Education: Attended Vallejo Junior College.

At age four sang on gospel record On the Battlefield for My Lord; cut first solo record, c. 1960; worked as record producer and disc jockey, 1964-66; signed with Epic Records and released first LP with Sly and the Family Stone, 1967; recording artist with Epic and Warner Bros., 1967-83.

Awards: Platinum award for single If You Want Me to Stay.

Formed Family

At the same time, he was writing and playing with his own band, the Stoners. The group broke up in 1966, so Stewart and ex-Stoners trumpet player Cynthia Robinson formed a new ensemble. Stewart enlisted brother Freddie as guitarist and his sister Rosie to play piano. With the addition of saxophonist Jetty Martini, bassist Larry Graham and drummer Greg Errico (Martinis cousin), the Family Stone was born.

Stewart changed his name to Sly Stone, and the band soon attracted the attention of Columbia Records A&R executive David Kapralik. The group signed with Columbia, releasing its debut LP, A Whole New Thing, in 1967 on the Columbia subsidiary Epic Records. The album didnt fare particularly wellaccording to Timothy Whites book Rock Stars, it lacked the fizzy familial feel of their live showsbut the groups single Dance to the Music, released early in 1968, became a solid hit and provided the title for the groups next album. Charles Shaar Murray asserted in Crosstown Traffic that the song changed the course of popular music. It was succeeded by a clutch of pop-soul crossover hits which somehow contrived to meld James Browns funk with the Beatles tuneful optimism, records as universally accessible as anything since early Motown.

In an essay included in The Rolling Stone Illustrated History of Rock & Roll, rock critic Dave Marsh noted that Dance to the Music exploded the formal categories of soul and R & B because the vocals and the instruments fought it out for space, right on the disc. Sly Stone had created a rock band that played in the traditions and spirit of soul music. Dance to the Music was the harbinger of hits to come; it reached the Top Ten of both the pop and soul charts, followed by a string of other hits. Everyday Peoplea song from Life! that gave the group its first Number One hit and helped popularize the slogan different strokes for different folksStand! and I Want to Take You Higher all increased the visibility of Sly Stone and his band. Stand!, the album containing the latter two singles, appeared in 1969. It also included the influential nonhit Dont Call Me Nigger, Whitey.

Revolutionary Thinking

The band, in its composition as much as its sound, crystallized much of the idealism and revolutionary thinking of the period. As Marsh observed, Here was a band in which men and women, black and white, had not one fixed role but many fluid ones. The women played, the men sang; the blacks freaked out, the whites got funky; everyone did something unexpected, which was the only thing the listener could expect. A 1987 Rolling Stone piece devoted to The Top 100 rock albums included Stand! as well as two subsequent Sly and the Family Stone records. On Stand! Stones talent seems boundless, the magazine declared, calling the albums best songs anthems you can dance to, soaring hymns of equality and self-determination set to a sweaty gutbucket beat. According to White, Stand! was the album-length masterwork that Everyday People had presaged; in one fell stroke it gave black music a new inner complexion while revolutionizing every other rock rhythm section extant.

The year 1969 brought more hit songs, most notably Hot Fun in the Summertime and the phonetically titled Thank You Falettinme Be Mice Elf Again (thank you for lettin me be myself again). Greil Marcus described Stones peak in his book Mystery Train: Sly was a winner. It seemed he had not only won the race, he had made up his own rules. Driving the finest cars, sporting the most sensational clothes, making the biggest deals and the best music, he was shaping the style and ambition of black teenagers all over the country. The groups moment of greatest visibility came in 1969 when they performed at the Woodstock festival, the gigantic concert in New York state that stood as the summit and symbol of the hippie generation. A supplement in Rolling Stone advertising the Woodstock movie noted, Many of [Stones] songs have social consciousness, yet they are able to appeal to both black and white, short-haired and long-haired people of all ages.

Sly and the Family Stones rendition of I Want to Take You Higher looked for a brief time like the embodiment of a generations dreams: black and white musicians bringing an activist throng to its feet with irresistible rock and roll music. Marsh claimed in a 1973 Creem review that Stone was almost forced into the role of house nigger for the Woodstock Nationsomeone who, as Marsh later claimed, could make race a safe issuebut the audiences thunderous response and its flashing the peace sign at the word higher, as per Stones instructions, suggest that Stones message and appeal were hardly apolitical. Murrays description of the Woodstock performance gives it a ritual cast: Theres Slys happy family in their baddest threads doing that old-time boogaloo while their chief mocks and exorcises generations of racial terror, shoving his huge grinning black mug into young Americas face, going BOOM-lakka-lakkalakka, BOOM-lakka-lakkalakka

Trouble

In 1970, riding on the wave of his hits, Stone began to cancel many of his shows and appear late for others. According to his agent, reported Rolling Stone, he canceled 26 of the 80 engagements scheduled for him in 1970. Some blamed the excesses of his lifestyle Stones regalia, onstage and off, was ostentatious to say the least and matched by his alleged fondness for drugsfor what the magazine called the most erratic performance record since [drug-addicted actress-singer] Judy Garland. Kapralik, who had become the bands manager, created a split-personality narrative to explain the stars behavior to journalists and record executives: OK, thats Sylvester Stewart, hes a poet, Kapralik told Rolling Stone. And then theres Sly Stone, the street cat, the hustler, the pimp, the conniver, sly as a fox and cold as a stone. Thats the strutter, the street dude who walks up there with that charisma that holds an audience captive, right? 400,000 at Woodstock and 25,000 at Madison Square. Hes irresponsible, opportunistic and unethical and he pimps our minds if we let him.

Of Stones drug habit, Kapralik reasoned that factions in the black political community, especially the revolutionary group the Black Panthers, along with former band members and his family, were in a tug-of-war over the star: That poor kid was torn apart. And when you are torn apart that means a lot of pain. And one of the clinical ways to ease the pain is cocaine. April of 1970 saw a near-riot at a Washington D.C. concert; also, a rumor that Stone had insulted black DJs brought about a short ban of his records from local soul stations. Meanwhile, to ease record company anxieties about new product, a Greatest Hits album was released in 1970. This collection appeared in Rolling Stones Top 100 seventeen years later, and in 1981 rock critic Robert Christgau ranked it among the greatest rock and roll LPs of all time. In August of 1970 Sly and the Family Stone appeared at the famed Isle of Wight music festival. As J. Green wrote in the festival issue of the Evening Standard, Sometimes something emerges which breaks all the rules, shatters the accepted conventions, survives the hype and wins through. Sly and the Family Stone are such a band.

Courageous Honesty

More difficulties, more cancellations, and more accusations surfaced in 1971. Rolling Stone reported that by October Stone had canceled 12 shows out of 40 and was late for two shows. In November the band at last released a new album. Theres a Riot Goin On was unlikely to banish concerns about Stone and his group, however. The record was no fun, wrote Marcus. It was slow, hard to hear, and it didnt celebrate anything. It was not groovy. In fact, it was distinctly unpleasant, unnerving. Yet, as Marcus and other critics agreed, the record was a groundbreaking statement. Maybe this is the new urban music, speculated Vince Aletti in Rolling Stone. Gone is the energy and flash that exploded in Slys early music. Theres no exhilaration left and no immediately clear message. Only an overwhelming feeling of exhaustion. However, Aletti conceded, the album showed Slys inner state with courageous honesty, at the same time holding a mirror up to all of us. Theres a Riot Goin On is one of the most important fking albums of the year. White, writing in Rock Stars, called the album a broody, militant, savage indictment of all the decayed determinism of the 1960s, while Marsh opined that it might be the only truly epic album of the 70s. Christgaus book awarded it an A+ and assessed, Despairing, courageous and very hard to take, this is one of those rare albums whose whole actually does exceed the sum of its parts.

Despite the political edge and apparent lethargy and struggle of Theres a Riot Goin On, however, it went to Number One on the album chart and yielded three hit singles, Family Affair, (You Caught Me) Smilin, and Runnin Away. It also featured a slowed-down and provocative rendition of Thank You Falettinme Be Mice Elf Again, retitled Thank You for Talkin To Me Africa. Furthermore, according to Marsh and Marcus, Alettis initial thought was correct: this was the new urban pop sound. A slew of politicized and skeptical if not downright pessimistic soul songs overtook the airwaves in the wake of Theres a Riot Goin On.

Faltered in 70s

Stones inconsistencies continued to dominate press reports about him, and his frequent run-ins with police increased in 1972. Since the star got busted five times in as many months last year, Rolling Stone announced in February of 1973, we award him a bust of himself. The joke held little appeal for Stones handlers; a long time had lapsed without a new album, and Riot raised doubts that the Sly Stone of old would ever take audiences higher again. Weve been recording, rescheduling, [and] regrouping on everything we like to do, what we have to do, and things we wish we could do, Stone explained in an interview quoted in Rock Stars.

Stone was accurate when he said regrouping, as the band went through several personnel changes in the early seventies. Graham left and was replaced by Rusty Allen; Andy Newmark replaced drummer Errico, and Stone recruited sax player Pat Rizzo. In August of 1973, Rolling Stone ran a profile featuring plenty of anecdotes about Stones unreliability. Hes sort of like Mercury, a record company publicist admitted. You think youve got your hands on him, but before you realize it hes slipped away. Stone reportedly felt that he didnt owe his fans anything for missed concerts: I got nothing to pay back, he was quoted as saying in Rolling Stone.

Stones fans would have to wait until October for Fresh! The new LP contained If You Want Me to Stay, which went platinum, and one other hit, Frisky. Marsh, reviewing the album for Creem, saw it as Sly coming to terms with himself as rock star. He concluded that there have been few albums as rich as this one released in 1973, if there have been any, and expected the record would yield hit songs because Sly, however great the contradictions he feels may be, is a truly great rock singer in the first place. Vernon Gibbs, writing for Crawdaddy!, agreed: The music is quite worthy of the founder of progressive soul. It gives us plenty of ass-shaking rhythms for the present and reason for optimism about the future. Make no mistake about it, friends and neighbors, Sly is back and just as freshly chirping as ever.

Musical Output Dwindled

In June of 1974 Stone married his girlfriend, Kathy Silva. The ceremony took place before television cameras at New York Citys Madison Square Garden just before a concert. By the end of the year they were divorced, with Silva seeking custody of the couples one-year-old son, Sylvester Bubb Ali Stewart, Jr. That year Sly and the Family Stone released Small Talk, an album that sank without much fanfare. In December, Stone walked out on a Muscular Dystrophy benefit in Washington, D.C. More arrests and conflicts followed, and Stones musical output dwindled.

In 1976 the band put out Heard Ya Missed Me, Well Im Back, but the album was generally dismissed by critics as a half-hearted effort. Stambler reported that for a time after 1976, [Stone] was essentially out of the music business. He signed with Warner Brothers after a couple of unproductive years and in 1979 released Back on the Right Track with many of his original band members. Epic, meanwhile, seized the opportunity to release a record containing several Sly and the Family Stone tracks rerecorded with disco instrumentation. Entitled Ten Years Too Soon, it repulsed many of Stones fans and critics, who saw it as the most cynical business move imaginable by a record label. Epic also released Anthology, an updated greatest hits package, in 1981. That same year Stone made an appearance on The Electric Spanking of War Babies, an album by George Clintons group Funkadelic.

In 1982 Sly and the Family Stone started a tour, but Stones drug problems led him to check into a treatment program in Florida. He released a new album, Aint But the One Way, in 1983; Stereo Reviews Joel Vance wrote approvingly that its clear at least that [Stone] very much wants to come back with this comeback album. Hes sure got my vote. Stone made some concert appearances the next year with soul star Bobby Womack. The rest of the decade saw him make news only with new arrests and court appearances. Jet magazine reported the stars being jailed for parole violation in Florida in June of 1987; in December of 1989 he was reportedly held in Connecticut on a drug charge. These short announcements read like career obituaries, noting casually that in the 1960s Stones group, Sly and the Family Stone, had several hits, including I Want to Take You Higher. Anyone acquainted with the legacy of Stones achievements would know how much more there was to the story.

Selected discography

A Whole New Thing, Epic, 1967.

Dance to the Music (includes Dance to the Music), Epic, 1968.

Life! (includes Everyday People), Epic, 1968.

Stand! (includes Stand!, I Want to Take You Higher, and Dont Call Me Nigger, Whitey), Epic, 1969.

Greatest Hits (includes Hot Fun in the Summertime and Thank You Falettinme Be Mice Elf Again), Epic, 1970.

Theres a Riot Goin On (includes Family Affair, [You Caught Me] Smilin, Runnin Away, and Thank You for Talkin to Me Africa), Epic, 1971.

Fresh! (includes If You Want Me to Stay and Frisky), Epic, 1973.

Small Talk, Epic, 1974.

Heard Ya Missed Me, Well Im Back, Epic, 1976.

Back on the Right Track, Warner Bros., 1979.

Ten Years Too Soon, Epic, 1979.

Anthology, Epic, 1981.

Aint But the One Way, Warner Bros., 1983.

With others

Woodstock (includes I Want to Take You Higher), Cotillion, 1970.

(With Funkadelic) The Electric Spanking of War Babies, Warner Bros., 1981.

Sources

Books

Christgau, Robert, Christgaus Record Guide: Rock Albums of the Seventies, Ticknor & Fields, 1981.

Marcus, Greil, Mystery Train: Images of America in Rock nRoll Music, E. P. Dutton & Co., Inc., 1975.

Murray, Charles Shaar, Crosstown Traffic: Jimi Hendrix and the Rock n Roll Revolution, St. Martins Press, 1989.

The Rolling Stone Illustrated History of Rock & Roll, edited by Jim Miller, Random House/Rolling Stone Press, 1976.

Stambler, Irwin, Encyclopedia of Pop, Rock & Soul, revised edition, St. Martins Press, 1989.

White, Timothy, Rock Stars, Stewart, Tabori & Chang, 1984.

Periodicals

Crawdaddy!, September 1968; October 1973.

Creem, September 1973.

Evening Standard, August 22, 1970.

Jet, July 2, 1984; November 11, 1986; June 22, 1987; December 4, 1989.

Rolling Stone, March 19, 1970; April 16, 1970; October 14, 1971; December 23, 1971; February 1, 1973; August 30, 1973; August 27, 1987.

Stereo Review, July 1983.

Simon Glickman

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Sly & the Family Stone

Sly & the Family Stone

Funk band

For the Record

Selected discography

Sources

Record blazing pioneers of a new type of exciting popular music called funk, Sly and the Family Stone made musical history by creating a new genre of pop music. A mix never really heard before, it was a blend of psychadelic rock, James Browns wild soul, rhythm and blues, and gospel. In addition to leading this trend setting band, founding member and leader Sylvester Sly Stewart also helped produce other well-known pop artists like Grace Slick & The Great Society, Billy Preston, Bobby Freeman, and the female soul group Little Sister, which was fronted by Slys real-life little sister Vaetta Stewart.

Born Sylvester Stewart in Denton, Texas on March 15, 1944, the young musician and his family moved west when Sly was still quite young. His formative years were spent in the grim industrial suburbs of Vallejo, California, located just across from the San Francisco Bay. Music was the one great love of Sylvesters life. While pursuing an education at Vallejos public high school, he was also hard at work perfecting his singing and songwriting talents. By the time he attended Vallejo Junior College, he started singing in a doo-wop quintet called the Viscaynes. The Viscaynes scored a big local success with their version of the song Yellow Moon. This inspired Sly to cutthe songs Long Time Away and Help Me With My Broken Heart for the G&P label. At the same time, he began a career as a D. J., first for radio station KSOL-AM then the famous KDIA-AM. At KDIA, people began to take notice of this energetic young dj. As good fortune would have it, Tom Big Daddy Drake and Bob Mighty Mitch Mitchell of KYA-AM decided to quit the station and start their own recording label, Autumn Records. Impressed with Slys talents, they hired him as studio musician. Besides being able to write and arrange, Sly was also a very good guitar player, keyboardist, and drummer. He was given a contract for his talents at the outset. Slys own Autumn recordings were I Just Learned To Swim. Scat Swim, and the industrial strength Buttermilk. These songs were intended to make money off the latest dance crazes. As house producer, Sly managed to take Bobby Freemans single Cmon & Swim all the way up to number five nationwide.

Besides this activity, Sly formed his own band called Sly and the Stoners, a band which frequently played local San Francisco clubs. Brother Freddie had started a group called Freddie and the Stone Souls. When Slys Stoners began falling apart, Freddie suggested joining forces with his brother who proposed taking the most talented players from each group to merge into one. This formation, later to be called Sly and the Family Stones, featured Sly on keyboards and vocals, Freddie on guitar with backup vocals, trumpeter Cynthia Robinson from the Stoners and Freddies drummer Greg Handsfeet Errico. They also added sax player Jerry Martini and bassist Larry Graham. Martini was a well-known session musician and Slys friend and Graham was famous for the wild way he played his bass. He created the idea of slapping, plucking, and thumping the strings. This created a slap-bass effect that became the standard bass sound for funk and soul recordings. One night after hearing him play atan Oakland nightclub, Sly made Larry the offer to join the Family Stones. Larry agreed. After listening to the group, Epic promotional executive David Kapralik signed this newly formed group to the Epic label. He also became a co-partner and business manager.

After the debut album, A Whole New Thing, Stewart asked his talented little sister Vaetta to join the ensemble. She added her excellent keyboard talents. Their landmark blend of r&b, psychadelica, and rock quickly caused a local stir in the San Francisco bay area music scene. In 1968, their first nationwide hit Dance to the Music cracked the charts with a bullet. Yet superstar prominence didnt come for the group until their legendary musical moments at Woodstock in 1969. Many music critics think the Family Stones performance there was one of the best of the entire concert.

Another first in pop music occurred when a drum machine was featured for the first time. Sly used it for his

For the Record

Members include Greg Errico (left group, 1971) drummer; Larry Graham (left group, 1972), bass; Jerry Martini , sax player; Cynthia Robinson , trumpet; Freddie Stewart , guitar; Sylvester Stewart (a.k.a. Sly, born March 15, 1944, Denton, TS), arranger, composer, guitarist, keyboardist, manager; Vaetta Stewart , keyboards, vocals.

Group formed in 1965; merger between Sly & the Stoners and Freddy and the Stone; Sylvester continued to write, arrange, produce, and perform for this group, releaseddebut, A Whole New Thing, Atlantic Records, 1967; Dance To The Music, Atlantic Records, 1968; Life, Atlantic Records, 1968; Stand!, Atlantic Re-corde, 1969; released Greatest Hits, Atlantic Records, 1970; group music was featured on the Woodstock soundtrack, 1970; released album Theres A Riot Goin On in 1971, released album Fresh in 1973, later as Sly using a totally different band he released Sweet Talk, 1974; High Energy, 1975; Heard Ya Missed Me Well Im Back, 1976; Everything You Always Wanted To Hear, 1976; Recorded in San Francisco 1964-67, 1977; Wanted: Vintage Sly, 1977; 10 Years Too Soon, 1979; Back On The Right Track, 1979; Anthology, 1981; Aint But the One Way, 1982; Encore Appearance, 1989; Family Affair, 1991; Dance To The Music, 1991; featured artist in Club Epic: A Collection of Classic Dance Mixes Vol. 2, 1991; Do the Rattle Snake Snake & More Psy-chadelicSoulsongs, 1991; The Best of The Best: Slys Stones Greatest Hits, 1992; Take My Advice 1992; Oh! What A Night, 1992; Star Box, 1993; Remember Who You Are, 1994; Musical Magic, 1994; Woodstock Diary, 1994; In the Still of the Night, 1995; Slyest Freshest Funkiest Rarest, 1996.

Addresses: Record Company Atlantic Records, 1290 Avenue of the Americas, New York, NY 10104; Website Sly & the Family Stone Official Web Site: http://www.slyfamstone.com

little sister Vaettas group Little Sister. Yet a third groundbreaking trend of Slys group started was one that transcended music. It was a social innovation. Black.white, and Latino, male and female performers made music side by side. They also released various songs which spoke about the possibility of racial harmony and tolerance like Different Strokes, and Everyday People. The latter song rose to a be a number one hit in 1969. Two other number one hits followed shortly thereafter with Thank You, Everybody Is a Star, and Family Affair in 1970. However, in contrast, as if possessed by a love/hate political schizophrenia, the band also released militant songs which spoke about racial violence and destruction. In 1971, Sly and his group released the provocative Theres A Riot GoinOn, which had an ominous threat to it. The militancy which came through in that song made some wonder exactly where Sly and the Family Stone were going with such calls for revolution. Also, Sly was becoming increasingly erratic with excessive consumption of drugs like cocaine. This eventually led to an unrealibility of showing up for concerts late or even not at all. After some rocky months, Sly moved from San Francisco to Los Angelse scene. The end result of all of this was that some of the Family Stones became restless and felt it was time to break and move on.

Errico left the band in 1971 during a production of Theres A Riot GoinOn. He decided to go into producing as well as being a studio drummer. Shortly thereafter, Erricos solo efforts proved fruitful. He started producing work by the band Wars Lee Oskar and vocalist Betty Davis. Errico also did some gigs drumming for Carlos Santana, Peter Frampton, the Grateful Deads Mickey Hart, David Bowie, even Josef Zawinuls Weather Report.

Graham quit the band in 1972 after Riot was released. Graham went on to form the very successful Graham Central Station. Undaunted by these two desertions, Sly went on and continued to produce and play the music he wanted to. He received some scathing criticisms from music critics and record company people who thought his work was heading downhill. In 1974, Sly married actress Kathy Silva onstage during a sell-out Madison Square Garden concert. Some critics even said Sly did it as a publicity stunt to boost his image. Six months later the coupie divorced. 1974 was a year of even more dissolutions. Long time manager and business partner David Kapralik decided to call it quits as well. Although the split was amicable, management duties were quickly assumed by Ken Roberts.

Most members of the original Family Stone have gone in diverse directions but still manage to maintain very successful careers. Freddie became a pastor and delivers Sunday sermons as well as occasionally playing electric guitar for his congregation. He regularly holds court at the Evangelist Temple Fellowship Center in Vallejo, California. Greg Errico presently plays with Quicksilver Messenger Service as well as doing various gigs in the Bay area where he is still in high demand. His latest appearance has been in the radio documentary/Want To Take You Higher, hosted by ex-Doors keyboardist Ray Manzarek. Erricos musicianship can also be heard on television and radio commercial such as Taco Bell, Sprint, Bryers Ice Cream, even. Matell Matchbox Cars. Graham is working on a new Graham Central Station CD and has recently worked with The Artist Formerly Known As Prince. Martini still plays his sax even at the age of 56. Lately, hes played in a rock band in Wakiki, Hawaii on Lewers Street at a place called Irish Rose. Robinson released some work on Funkadelics The Electric Spanking Machine released in 1981. Since then, she is divided her time between raising her two daughters and playing with a local Sacramento band called Burgandy Express. She also plays trumpet licks with Larry Grahams band on occasion.

As for the leader, founder, producer, and arranger himself, Sylvester Sly Stewart still continues to make and releasing records. Arrested for drug and alimony charges, Sly went to jail for a period. He tried several comeback tours but no tour clicked with the old successes that he and his original group previously enjoyed. Still, Stys tenacity is remarkable. He has continued to release an album every year or so. Ive been blessed with the gift of writing songs, Stewart told David Letterman in a 1992 interview. And for me not to make use of this gift would be the same as not contributing to society.

Selected discography

A Whole New Thing, Atlantic Records, 1967.

Dance To The Music, Atlantic Records, 1968.

Life, Atlantic Records, 1969.

Stand!, Atlantic Records, 1969.

Greatest Hits, Atlantic Records, 1970.

Theres A Riot Goin On, Atlantic Records, 1971.

Sources

The Official Sly & the Family Stone Web Site, http://www.slyfamstone.com

The Rock & Roll Hall of Fame & Museum Web Site, http://www.rockhall.com/induct/slyfam.html

Timothy Kevin Perry

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