Rock and Roll Hall of Fame
The Rock and Roll Hall of Fame, located on the shore of Lake Erie in downtown Cleveland, Ohio and archives the history of the best-known and most influential artists, producers and other notable figures who have had some major influence on the development of rock and roll. The Rock and Roll Hall of Fame Foundation was established on April 20, 1983, by Atlantic Records founder and chairman Ahmet Ertegun. In 1986, Cleveland was chosen as the Hall of Fame's permanent home. Founder Ahmet Ertegun assembled a team that included attorney Suzan Evans, Rolling Stone magazine editor and publisher Jann S. Wenner, attorney Allen Grubman, record executives Seymour Stein, Bob Krasnow, Noreen Woods; the Foundation began inducting artists in 1986. The search committee considered several cities, including Philadelphia, Detroit, New York City, Cleveland. Cleveland lobbied for the museum, with civic leaders in Cleveland pledging $65 million in public money to fund the construction, citing that WJW disc jockey Alan Freed both coined the term "rock and roll" and promoted the new genre—and that Cleveland was the location of Freed's Moondog Coronation Ball credited as the first major rock and roll concert.
Freed was a member of the hall of fame's inaugural class of inductees in 1986. In addition, Cleveland cited radio station WMMS, which played a key role in breaking several major acts in the U. S. during the 1970s and 1980s, including David Bowie, who began his first U. S. tour in the city, Bruce Springsteen, Roxy Music, Rush among many others. A petition drive was signed by 600,000 fans favoring Cleveland over Memphis, Cleveland ranked first in a 1986 USA Today poll asking where the Hall of Fame should be located. On May 5, 1986, the Hall of Fame Foundation chose Cleveland as the permanent home of the Rock and Roll Hall of Fame and Museum. Author Peter Guralnick said. Cleveland may have been chosen as the organization's site because the city offered the best financial package; as The Plain Dealer music critic Michael Norman noted, "It was $65 million... Cleveland wanted it here and put up the money." Co-founder Jann Wenner said, "One of the small sad things is we didn't do it in New York in the first place," but added, "I am delighted that the Rock and Roll Hall of Fame and Museum is in Cleveland."
During early discussions on where to build the Hall of Fame and Museum, the Foundation's board considered the Cuyahoga River. The chosen location was along East Ninth Street in downtown Cleveland by Lake Erie, east of Cleveland Stadium. At one point in the planning phase, when a financing gap existed, planners proposed locating the Rock Hall in the then-vacant May Company Building, but decided to commission architect I. M. Pei to design a new building. Initial CEO Dr. Larry R. Thompson facilitated I. M. Pei in designs for the site. Pei came up with the idea of a tower with a glass pyramid protruding from it; the museum tower was planned to stand 200 ft high, but had to be cut down to 162 ft due to its proximity to Burke Lakefront Airport. The building's base is 150,000 square feet; the groundbreaking ceremony took place on June 7, 1993. Pete Townshend, Chuck Berry, Billy Joel, Sam Phillips, Ruth Brown, Sam Moore of Sam and Dave, Carl Gardner of the Coasters and Dave Pirner of Soul Asylum all appeared at the groundbreaking.
The museum was dedicated on September 1, 1995, with the ribbon being cut by an ensemble that included Yoko Ono and Little Richard, among others, before a crowd of more than 10,000 people. The following night an all-star concert was held at the stadium, it featured Chuck Berry, Bob Dylan, Al Green, Jerry Lee Lewis, Aretha Franklin, Bruce Springsteen, Iggy Pop, John Fogerty, John Mellencamp, many others. In addition to the Hall of Fame inductees, the museum documents the entire history of rock and roll, regardless of induction status. Hall of Fame inductees are honored in a special exhibit located in a wing that juts out over Lake Erie. Since 1986, the Rock and Roll Hall of Fame has selected new inductees; the formal induction ceremony has been held in New York City 26 times. As of 2018, the induction ceremonies alternate each year between New Cleveland; the 2009 and 2012 induction weeks were made possible by a public–private partnership between the City of Cleveland, the State of Ohio, the Rock and Roll Hall of Fame, local foundations, civic organizations and individuals.
Collectively these entities invested $5.8 million in 2009 and $7.9 million in 2012 to produce a week of events, including free concerts, a gospel celebration, exhibition openings, free admission to the museum, induction ceremonies filled with both fans and VIPs at Public Hall. Millions viewed the television broadcast of the Cleveland inductions; the economic impact of the 2009 induction week activities was more than $13 million, it provided an additional $20 million in media exposure for the region. The 2012 induction week yielded similar results. There are seven levels in the building. On the lower level is the Ahmet M. Ertegun Exhibition Hall, the museum's main gallery, it includes exhibits on the roots of roll. It featu
Oak Park, Sacramento, California
Oak Park is a neighborhood in Sacramento, California. The McGeorge School of Law, University of the Pacific Sacramento Campus, Sacramento High School, Christian Brothers High School are located in this neighborhood. Oak Park is informally bounded by U. S. Route 50 to the north, Stockton Boulevard to the east, the South Sacramento Freeway to the west and Fruitridge Road to the south, it provides easy access to Downtown Sacramento. Numbered streets intersect with numbered avenues, with Broadway and Martin Luther King Jr. Boulevard comprising the main thoroughfares; the early 1900s saw Oak Park as a culturally thriving and economically vibrant, destination neighborhood, due in part to its strong sense of community and its ties with and proximity to the Historic site of the California State Fair grounds. The 1960s Interstate freeway expansion program subdivided many historic Sacramento neighborhoods like Oak Park creating isolated areas of poverty or relative prosperity. Oak Park's sense of community started to decline in the early 1960s as a result of the freeway expansion, declining property values and families moving out to the suburb communities now made accessible by the freeway expansion programs.
During the 1980s / 90's further deterioration of the living standards were exacerbated by frequent occurrences of petty theft, street crime, drug activities, gang-related violence. The early 2000s saw a slew of real estate speculators and building contractors buying up low-priced homes in some parts of Oak Park that were either abandoned or sold off as unmanageable, turning them around and reselling them as reasonably priced starter homes with financial government assistance. At the same time many new high-paying jobs moved into the area in connection with the expansion of the University of California Davis Medical Center located to the north of Oak Park, the revitalization of Broadway and Stockton Boulevard, the expansion of the McGeorge Law School campus. In addition to being Sacramento's first suburb, Oak Park developed a second "downtown" retail and entertainment district, distinct from Sacramento's downtown, running along 35th Street between Sacramento Blvd to the north and 5th Ave and the park to the South.
The street was home to the Piggly-Wiggly, Park Meat Market, Arata Bros markets. The street's arts and entertainment could be found at the Victor Theater, the California Theater, the Belmonte Gallery or the outdoor theater and pavilion at the park. 35th Street area played host to the annual July 4th parade. Four of Sacramento's seven downtown streetcar lines terminated in Oak Park; the original line, the Central Street Railway, was founded in 1890 by real estate investor Edwin K. Alsip in hopes of motivating people to move to Oak Park and Highland Park; the horse-drawn streetcars were replaced by cable cars, shortly after, electric trolley cars. Originating at Second and H streets, it followed J Street to 28th St south to Sacramento Boulevard, where it turned east into the new suburbs of Oak Park; the eastern terminus was a public park known as Oak Park, on 35th Street and Fifth Avenue. Sacramento Electric, Gas & Railway Company would acquire this route and expand to include Route 6 which ran to the Oak Park terminus via Fifth Avenue.
Meanwhile, a short Route 5 would run east from the Oak Park terminus and end at the Historic site of the California State Fair grounds on Stockton Boulevard. The Central California Traction Company ran an interurban rail line from Downtown Sacramento to Stockton; the line headed through Oak Park along Sacramento Boulevard Second Avenue, turned south at Stockton Boulevard, running down the eastern edge of Oak Park towards Stockton. In 1895, Oak Park featured acres of shady oak trees, a zoo and ballpark; when Sacramento Electric, Gas & Railway Company acquired the Oak Park terminus in 1903, they added a wooden roller coaster, a roller skating rink, an outdoor theater, a scenic miniature railway. Joyland was born when the park was renovated to include an amusement park, electric lights, swimming pool. In addition to local amusement, Joyland was intended to showcase the abilities of electric power and increase ridership on the new electric streetcars. Joyland caught fire in 1920 and never reopened.
In 1927, Valentine McClatchy purchased the land and gave it to the city to become a city park, named in honor of his father James McClatchy, the founder of the Sacramento Bee. As of 2008, Oak Park faced a variety of challenges sustaining the beginnings of its comeback due in part to an increase in foreclosures and an area-wide decline in property values. Community groups like the Oak Park Neighborhood Association, the South Oak Park Community Association established in 2014, Community policing efforts, the demand for affordable housing close to the University of California Davis Medical Center and the overall impact that the real estate market will play in the future. Lotar A. Lampe Sr. Served the community 1993–2011. Involved in community service projects and programs. Oak Park resident from 1974 to 2011. Worked with the Sacramento P. D. in community service, volunteered with Probation to supervise probationers that were doing community service hours, volunteered whenever possible in events that beautified improved and led to change in Oak Park.
He was the president of the Oak Ridge /Christian Brothers Drug Free Zone, the president of the 35th Street Neighborhood Assoc
Everyday People
"Everyday People" is a 1968 song by Sly and the Family Stone. It was the first single by the band to go to number one on the Soul singles chart and the U. S. Billboard Hot 100 chart, it held that position, on the Hot 100, for four weeks from February 15 to March 14, 1969, is remembered as a popular song of the 1960s. Billboard ranked it as the No. 5 song of 1969. As with most of Sly and the Family Stone's songs, Sly Stone was credited as the sole songwriter; the song is one of Sly Stone's pleas for peace and equality between differing races and social groups, a major theme and focus for the band. The Family Stone featured Caucasians Greg Errico and Jerry Martini in its lineup, as well as females Rose Stone and Cynthia Robinson. Sly and the Family Stone's message was about peace and equality through music, this song reflects the same. Unlike the band's more funky and psychedelic records, "Everyday People" is a mid-tempo number with a more mainstream pop feel. Sly, singing the main verses for the song, explains that he is "no better / and neither are you / we are the same / whatever we do."
Sly's sister Rose Stone sings bridging sections that mock the futility of people hating each other for being tall, rich, fat, white, black, or anything else. The bridges of the song contain the line "different strokes for different folks," which became a popular catchphrase in 1969. Rose's singing ends each part of the bridge with the words: "And so on, so on, scooby dooby doo". During the chorus, all of the singing members of the band proclaim that "I am everyday people," meaning that each of them should consider himself or herself as parts of one whole, not of smaller, specialized factions. Bassist Larry Graham contends that the track featured the first instance of the "slap bass" technique, which would become a staple of funk and other genres; the technique involves striking a string with the thumb of the right hand so that the string collides with the frets, producing a metallic "clunk" at the beginning of the note. Slap bass songs – for example, Graham's performance on "Thank You" – expanded on the technique, incorporating a complementary "pull" or "pop" component.
"Everyday People" was included on the band's classic album Stand!, which sold over three million copies. It is one of the most covered songs in the band's repertoire, with versions by The Winstons, Aretha Franklin, The Staple Singers, William Bell, Joan Jett and the Blackhearts, The Supremes & The Four Tops, Peggy Lee, Belle & Sebastian, Pearl Jam, Nicole C. Mullen, Ta Mara and the Seen among many others. Hip-hop group Arrested Development used the song as the basis of their 1992 hit, "People Everyday," which reached #2 on the UK Singles Chart and #8 on the Hot 100. Dolly Parton's unreleased 1980 cover of the song was included as a bonus track on the 2009 reissue of her 9 to 5 and Odd Jobs album. Rolling Stone ranked "Everyday People" as #145 on their list of the 500 Greatest Songs of All Time. "Everyday People" was prominently featured in a series of Toyota commercials in the late 1990s. The song's title is mentioned in the hit song by Sly and the Family Stone's "Thank You" in the third verse, along with their other hit "Dance to the Music".
Soul singer Billy Paul covered the song on his 1970 album Ebony Woman. Joan Jett's version appears on her 1983 release Album. "Everyday People" by Ta Mara and the Seen was a minor hit in the Philippines in 1988. Aretha Franklin performed. A unique instrumental rendition of "Everyday People" is featured on the 1998 album Combustication by jazz fusion trio Medeski Martin & Wood. Hip hop group Arrested Development released an adapted version of "Everyday People" on their 1992 album 3 Years, 5 Months & 2 Days in the Life Of... titled as "People Everyday". The 2005 Sly and the Family Stone tribute album Different Strokes by Different Folks features a cover by Maroon 5, accompanied by samples from the original recording. A version by Jeff Buckley is included in the posthumously released album You and I. Jon Batiste and Stay Human performed the song along other guest musicians on the first episode of The Late Show with Stephen Colbert; the Staple Singers released a version on their 1970 album We'll Get Over.
Sly Stone: vocals Rose Stone: vocals, piano Freddie Stone: vocals, guitar Larry Graham: vocals, bass guitar Greg Errico: drums, background vocals Jerry Martini: saxophone, background vocals Cynthia Robinson: trumpet, vocal ad-libs engineered by Don Puluse Written and produced by Sly Stone "Everyday People" audio on YouTube Lyrics of this song at MetroLyrics
Soul music
Soul music is a popular music genre that originated in the African American community in the United States in the 1950s and early 1960s. It combines elements of African-American gospel music and blues and jazz. Soul music became popular for dancing and listening in the United States, where record labels such as Motown and Stax were influential during the Civil Rights Movement. Soul became popular around the world, directly influencing rock music and the music of Africa. According to the Rock and Roll Hall of Fame, soul is "music that arose out of the black experience in America through the transmutation of gospel and rhythm & blues into a form of funky, secular testifying". Catchy rhythms, stressed by handclaps and extemporaneous body moves, are an important feature of soul music. Other characteristics are a call and response between the lead vocalist and the chorus and an tense vocal sound; the style occasionally uses improvisational additions and auxiliary sounds. Soul music reflected the African-American identity and it stressed the importance of an African-American culture.
The new-found African-American consciousness led to new styles of music, which boasted pride in being black. Soul music dominated the U. S. R&B chart in the 1960s, many recordings crossed over into the pop charts in the U. S. Britain and elsewhere. By 1968, the soul music genre had begun to splinter; some soul artists developed funk music, while other singers and groups developed slicker, more sophisticated, in some cases more politically conscious varieties. By the early 1970s, soul music had been influenced by psychedelic rock and other genres, leading to psychedelic soul; the United States saw the development of neo soul around 1994. There are several other subgenres and offshoots of soul music; the key subgenres of soul include a rhythmic music influenced by gospel. Soul music has its roots in traditional African-American gospel music and rhythm and blues and as the hybridization of their respective religious and secular styles – in both lyrical content and instrumentation – that began in the 1950s.
The term "soul" had been used among African-American musicians to emphasize the feeling of being an African-American in the United States. According to musicologist Barry Hansen,Though this hybrid produced a clutch of hits in the R&B market in the early 1950s, only the most adventurous white fans felt its impact at the time. According to AllMusic, "oul music was the result of the urbanization and commercialization of rhythm and blues in the'60s." The phrase "soul music" itself, referring to gospel-style music with secular lyrics, was first attested in 1961. The term "soul" in African-American parlance has connotations of African-American culture. Gospel groups in the 1940s and'50s used the term as part of their names; the jazz style that originated from gospel became known as soul jazz. As singers and arrangers began using techniques from both gospel and soul jazz in African-American popular music during the 1960s, soul music functioned as an umbrella term for the African-American popular music at the time.
Important innovators whose recordings in the 1950s contributed to the emergence of soul music included Clyde McPhatter, Hank Ballard, Etta James. Ray Charles is cited as popularizing the soul music genre with his series of hits, starting with 1954's "I Got a Woman". Singer Bobby Womack said, "Ray was the genius, he turned the world onto soul music." Charles was open in acknowledging the influence of Pilgrim Travelers vocalist Jesse Whitaker on his singing style. Little Richard, who inspired Otis Redding, James Brown both were influential. Brown was nicknamed the "Godfather of Soul Music", Richard proclaimed himself as the "King of Rockin' and Rollin', Rhythm and Blues Soulin'", because his music embodied elements of all three, since he inspired artists in all three genres. Sam Cooke and Jackie Wilson are acknowledged as soul forefathers. Cooke became popular as the lead singer of the gospel group The Soul Stirrers, before controversially moving into secular music, his recording of "You Send Me" in 1957 launched a successful pop music career.
Furthermore, his 1962 recording of "Bring It On Home To Me" has been described as "perhaps the first record to define the soul experience". Jackie Wilson, a contemporary of both Cooke and James Brown achieved crossover success with his 1957 hit "Reet Petite", he was influential for his dramatic delivery and performances. Writer Peter Guralnick is among those to identify Solomon Burke as a key figure in the emergence of soul music, Atlantic Records as the key record label. Burke's early 1960s songs, including "Cry to Me", "Just Out of Reach" and "Down in the Valley" are considered classics of the genre. Guralnick wrote: "Soul started, in a sense, with the 1961 success of Solomon Burke's "Just Out Of Reach". Ray Charles, of course, had enjoyed enormous success, as had James Brown and Sam Cooke — in a pop vein. E
Small Talk (Sly and the Family Stone album)
Small Talk is the seventh album by Sly and the Family Stone, released by Epic/CBS Records in 1974. This album was the final LP to feature the original Family Stone, which broke up in January 1975. Small Talk's singles were "Time for Livin'" and "Loose Booty", an up-tempo funk track which uses the names of Bible characters Shadrach and Abednego as a chant. Pictured on the album cover with bandleader Sly Stone in a photograph by Norman Seeff are his then-wife Kathleen Silva and his son Sylvester, Jr. In addition to its standard stereo release, Small Talk was released in quadraphonic sound. Beastie Boys sampled the words Shadrach, Abednego on the track "Shadrach" from the album Paul's Boutique. Beastie Boys covered "Time for Livin", released on the album Check Your Head in 1992 along with a live music video; the album is more mellow and restful than earlier efforts, critic Alex Stimmel observes. Prominence of strings distinguishes the album from earlier recordings by the band, violin player Sid Page is credited as a band member.
According to critic Alex Stimmel, the string section is used to "cushion the mood, augment vocal lines, create melodies, or sting riffs once reserved for horns." Stimmel writes that this aspect of the music shows Sly Stone as "the producer-genius that he was." Other than that, the album has a spare sound in comparison to the band's earlier records. More than half the tracks include studio chatter, which according to Stimmel makes for "an air of spontaneity from the sessions, as if the tape was just rolling and the band was having a good time again." In addition to the single releases, other hard funk counterpoints to the mellow tunes are "Can't Strain My Brain" and "Better Thee Than Me". Some lyrics reflect the familial love, Stone having been married, yet the message music characteristic of the'60s hits returns for the last time in the "raucous, vengeful'Time for Livin'"; the cover of the album showed a picture of Stone, his wife Kathleen Silva, baby Sly, Jr. On 5 June 1974 the pair were married onstage at Madison Square Garden.
Reviewing the original LP for Let It Rock in 1974, Pete Wingfield said Small Talk follows in the vein of the band's previous album, Fresh – "a little mellower, more together maybe. More so than on Riot – the sniffing self-pity of that period has mercifully gone. Years in Rolling Stone, he rated the CD reissue somewhat higher, but wrote that the album marked for Stone "the beginning of an end that proceeded through many false comebacks to yesterday and tomorrow." All tracks written by Sylvester "Sly Stone" Stewart, except for "Small Talk", written by Sylvester Stewart and W. Silva. All songs arranged by Sly Stone for Fresh Productions. "Small Talk" – 3:22 "Say You Will" – 3:19 "Mother Beautiful" – 2:01 "Time for Livin'" – 3:17 "Can't Strain My Brain" – 4:09 "Loose Booty" – 3:47 "Holdin' On" – 3:39 "Wishful Thinkin'" – 4:26 "Better Thee Than Me" – 3:35 "Livin' While I'm Livin'" – 2:58 "This is Love" – 2:54 Added for 2007 limited edition compact disc reissue: "Crossword Puzzle" "Time for Livin'" "Loose Booty" "Positive" Sly Stone – vocals, guitar, piano and more Freddie Stone – background vocals, guitar Rose Stone – background vocals, keyboard Cynthia Robinson – trumpet Jerry Martini – saxophone Pat Rizzo – saxophone Sid Page – violin Rusty Allen – bass guitar Andy Newmark, Bill Lordan – drums Little Sister – background vocals Karat Faye – engineer Ed Bogas – string arranger Norman Seeff – cover photography John Berg, John Van Hamersveld – design Vrdoljak, Dražen.
"Sly and the Family Stone". Džuboks. Gornji Milanovac: Dečje novine: 23. Sly and the Family Stone - Small Talk album review by Rob Bowman, credits & releases on AllMusic Sly and the Family Stone - Small Talk album releases & credits on Discogs.com Sly and the Family Stone - Small Talk album to be listened as stream on Spotify.com
Singing
Singing is the act of producing musical sounds with the voice and augments regular speech by the use of sustained tonality, a variety of vocal techniques. A person who sings is called a vocalist. Singers perform music that can be sung without accompaniment by musical instruments. Singing is done in an ensemble of musicians, such as a choir of singers or a band of instrumentalists. Singers may perform as soloists or accompanied by anything from a single instrument up to a symphony orchestra or big band. Different singing styles include art music such as opera and Chinese opera, Indian music and religious music styles such as gospel, traditional music styles, world music, blues and popular music styles such as pop, electronic dance music and filmi. Singing arranged or improvised, it may be done as a form of religious devotion, as a hobby, as a source of pleasure, comfort or ritual, as part of music education or as a profession. Excellence in singing requires time, dedication and regular practice.
If practice is done on a regular basis the sounds can become more clear and strong. Professional singers build their careers around one specific musical genre, such as classical or rock, although there are singers with crossover success, they take voice training provided by voice teachers or vocal coaches throughout their careers. In its physical aspect, singing has a well-defined technique that depends on the use of the lungs, which act as an air supply or bellows. Though these four mechanisms function independently, they are coordinated in the establishment of a vocal technique and are made to interact upon one another. During passive breathing, air is inhaled with the diaphragm while exhalation occurs without any effort. Exhalation may be aided by lower pelvis/pelvic muscles. Inhalation is aided by use of external intercostals and sternocleidomastoid muscles; the pitch is altered with the vocal cords. With the lips closed, this is called humming; the sound of each individual's singing voice is unique not only because of the actual shape and size of an individual's vocal cords but due to the size and shape of the rest of that person's body.
Humans have vocal folds which can loosen, tighten, or change their thickness, over which breath can be transferred at varying pressures. The shape of the chest and neck, the position of the tongue, the tightness of otherwise unrelated muscles can be altered. Any one of these actions results in a change in pitch, timbre, or tone of the sound produced. Sound resonates within different parts of the body and an individual's size and bone structure can affect the sound produced by an individual. Singers can learn to project sound in certain ways so that it resonates better within their vocal tract; this is known as vocal resonation. Another major influence on vocal sound and production is the function of the larynx which people can manipulate in different ways to produce different sounds; these different kinds of laryngeal function are described as different kinds of vocal registers. The primary method for singers to accomplish this is through the use of the Singer's Formant, it has been shown that a more powerful voice may be achieved with a fatter and fluid-like vocal fold mucosa.
The more pliable the mucosa, the more efficient the transfer of energy from the airflow to the vocal folds. Vocal registration refers to the system of vocal registers within the voice. A register in the voice is a particular series of tones, produced in the same vibratory pattern of the vocal folds, possessing the same quality. Registers originate in laryngeal function, they occur. Each of these vibratory patterns appears within a particular range of pitches and produces certain characteristic sounds; the occurrence of registers has been attributed to effects of the acoustic interaction between the vocal fold oscillation and the vocal tract. The term "register" can be somewhat confusing; the term register can be used to refer to any of the following: A particular part of the vocal range such as the upper, middle, or lower registers. A resonance area such as chest voice or head voice. A phonatory process A certain vocal timbre or vocal "color" A region of the voice, defined or delimited by vocal breaks.
In linguistics, a register language is a language which combines tone and vowel phonation into a single phonological system. Within speech pathology, the term vocal register has three constituent elements: a certain vibratory pattern of the vocal folds, a certain series of pitches, a certain type of sound. Speech pathologists identify four vocal registers based on the physiology of laryngeal function: the vocal fry register, the modal register, the falsetto register, the whistle register; this view is adopted by many vocal pedagogues. Vocal resonation is the process by which the basic product of phonation is en
Dance to the Music (Sly and the Family Stone album)
Dance to the Music is the second studio album by funk/soul band Sly and the Family Stone, released April 27, 1968 on Epic/CBS Records. It contains the Top Ten hit single of the same name, influential in the formation and popularization of the musical subgenre of psychedelic soul and helped lay the groundwork for the development of funk music; the Family Stone itself never thought highly of Dance to the Music while they were recording it. To appease his employer, Sly developed a formula for the band's recordings, which would still promote his visions of peace, brotherly love, anti-racism while appealing to a wider audience. Most of the resulting Family Stone songs feature each lead singer in the band sharing the lead vocals by either singing them in unison or taking turns singing bars of each verse. In addition, the songs contained significant amounts of scat singing and prominent solos for each instrumentalist; the formula not only influenced the entire music industry. When "Dance to the Music" became a Top 10 pop hit, R&B/soul producers and labels began appropriating the new "psychedelic soul" sound.
By the end of 1968, The Temptations had gone psychedelic, The Impressions and Four Tops would join them within the space of two years. New acts such as The Jackson 5 and The Undisputed Truth would show heavy influence from Dance to the Music and its follow-ups and Stand!. Many of the songs on this album adhere to the formula, share chord progressions. Exceptions include "Color Me True", a more somber selection about how one fits in with society, Sly's solo number "Don't Burn Baby", "I'll Never Fall in Love Again", a slow ballad sung by Larry Graham. Included is the band's first Epic single, "Higher", a rerecording of their only release for Loadstone Records, "I Ain't Got Nobody". All songs written by Sylvester Stewart unless noted, produced and arranged by Sly Stone for Stone Flower Productions. "Dance to the Music" – 3:00 "Higher" – 2:49 "I Ain't Got Nobody" – 4:26 Dance to the Medley – 12:12 "Music Is Alive" "Dance In" "Music Lover" "Ride the Rhythm" – 2:48 "Color Me True" – 3:10 "Are You Ready" – 2:50 "Don't Burn Baby" – 3:14 "I'll Never Fall in Love Again" – 3:25 1995 CD limited edition reissue "Soul Clappin'" 2007 CD limited edition reissue "Dance to the Music" "Higher" "Soul Clappin'" "We Love All" "I Can't Turn You Loose" "Never Do Your Woman Wrong" Note: "Never Will I Fall In Love Again" is listed as "I'll Never Fall in Love Again" on this reissue, both on the sleeve and in the booklet.
Sly and the Family StoneSly Stone - vocals, guitar, piano and more Freddie Stone - vocals, guitar Larry Graham - vocals, bass guitar Rose Stone - vocals, keyboards Cynthia Robinson - trumpet, vocal ad-libs Jerry Martini - saxophone Greg Errico - drums Little Sister - backing vocals
