Ain't but the One Way
Ain't But the One Way is the tenth and final album by Sly and the Family Stone, released by Warner Bros. Records in 1982; the album began its existence as a collaborative project between Sly Stone and George Clinton, a sequel to Stone's appearance on the 1981 Funkadelic album The Electric Spanking of War Babies. While working on Ain't But the One Way and Funkadelic quarreled with and left Warner Bros. Records, Sly Stone went into self-seclusion and could not be found. Producer Stewart Levine was assigned to take control of the project, do what he could to complete an album. Upon its 1982 release, Ain't But The One Way underperformed and marked the end of Sly Stone's career with Warner Bros. Records. Both of Sly Stone's Warner Bros. albums, Ain't But The One Way and Back on the Right Track, along with five unissued recordings, were combined by Rhino Records into a compilation called Who In The Funk Do You Think You Are: The Warner Bros. Recordings in 2001. Reviewing the album in Rolling Stone, Steve Futterman judged it "Neither triumphant resurgence nor embarrassing failure".
He elaborated that the album recreates the funky grooves of "the classic Family Stone sound" but lacks the sociopolitical immediacy that the band had in their heyday. He concluded, "When a once politically astute pop statesman writes an ode to New Jersey called'Hobo Ken,' you know something is wrong, but if you crave the beat, you'll find it here..." All songs written by Sylvester Stewart except. Side A"L. O. V. I. N. U." "One Way" "Ha Ha, Hee Hee" "Hobo Ken"Side B"Who in the Funk Do You Think You Are" "You Really Got Me" "Sylvester" "We Can Do It" "High, Y'all"
I'm Back! Family & Friends
I'm Back! Family & Friends is the second solo album by singer/songwriter/multi-instrumentalist Sly Stone, released by Cleopatra Records in 2011, it contains covers of his old material, along with three new tracks. "Dance to the Music" – 3:01 "Everyday People" – 2:58 "Family Affair" – 3:19 "Stand!" – 3:14 "Thank You" – 4:55 " Higher" – 4:44 "Hot Fun in the Summertime" – 2:54 "Dance to the Music" – 6:39 "Plain Jane" – 4:24 "His Eye Is on the Sparrow" – 4:18 "Get Away" – 3:46 "Dance to the Music" – 4:12 "Family Affair" – 4:44 "Thank You" – 4:32 Although expressing disappointment that most of the tracks were remakes of previous hits, Rolling Stone praised the new elements of the album: "a brass-and-organ-driven take on the gospel standard "His Eye Is on the Sparrow" and two originals: the gutbucket funk of "Plain Jane" and "Get Away," a gorgeous soul vamp with a refrain – "Keep singin' that melody!" – that whets the appetite for a full-fledged Sly comeback."AllMusic's Stephen Thomas Erlewine was less positive, noting of the new tracks that they were "saddled with the same awful production that hobbles the re-creations, the same sticky, desperate replication of the past that only underscores just how long ago Sly's golden years were."The Washington Post's Allison Stewart was unfavourable towards the release, stating that "Stone seems more like a visitor to these tracks, like somebody assembled them and he showed up sometimes.
He sounds tired."
An album is a collection of audio recordings issued as a collection on compact disc, audio tape, or another medium. Albums of recorded music were developed in the early 20th century as individual 78-rpm records collected in a bound book resembling a photograph album. Vinyl LPs are still issued, though album sales in the 21st-century have focused on CD and MP3 formats; the audio cassette was a format used alongside vinyl from the 1970s into the first decade of the 2000s. An album may be recorded in a recording studio, in a concert venue, at home, in the field, or a mix of places; the time frame for recording an album varies between a few hours to several years. This process requires several takes with different parts recorded separately, brought or "mixed" together. Recordings that are done in one take without overdubbing are termed "live" when done in a studio. Studios are built to absorb sound, eliminating reverberation, so as to assist in mixing different takes. Recordings, including live, may contain sound effects, voice adjustments, etc..
With modern recording technology, musicians can be recorded in separate rooms or at separate times while listening to the other parts using headphones. Album covers and liner notes are used, sometimes additional information is provided, such as analysis of the recording, lyrics or librettos; the term "album" was applied to a collection of various items housed in a book format. In musical usage the word was used for collections of short pieces of printed music from the early nineteenth century. Collections of related 78rpm records were bundled in book-like albums; when long-playing records were introduced, a collection of pieces on a single record was called an album. An album, in ancient Rome, was a board chalked or painted white, on which decrees and other public notices were inscribed in black, it was from this that in medieval and modern times album came to denote a book of blank pages in which verses, sketches and the like are collected. Which in turn led to the modern meaning of an album as a collection of audio recordings issued as a single item.
In the early nineteenth century "album" was used in the titles of some classical music sets, such as Schumann's Album for the Young Opus 68, a set of 43 short pieces. When 78rpm records came out, the popular 10-inch disc could only hold about three minutes of sound per side, so all popular recordings were limited to around three minutes in length. Classical-music and spoken-word items were released on the longer 12-inch 78s, about 4–5 minutes per side. For example, in 1924, George Gershwin recorded a drastically shortened version of the seventeen-minute Rhapsody in Blue with Paul Whiteman and His Orchestra, it ran for 8m 59s. Deutsche Grammophon had produced an album for its complete recording of the opera Carmen in 1908. German record company Odeon released the Nutcracker Suite by Tchaikovsky in 1909 on 4 double-sided discs in a specially designed package; this practice of issuing albums does not seem to have been taken up by other record companies for many years. By about 1910, bound collections of empty sleeves with a paperboard or leather cover, similar to a photograph album, were sold as record albums that customers could use to store their records.
These albums came in both 12-inch sizes. The covers of these bound books were wider and taller than the records inside, allowing the record album to be placed on a shelf upright, like a book, suspending the fragile records above the shelf and protecting them. In the 1930s, record companies began issuing collections of 78 rpm records by one performer or of one type of music in specially assembled albums with artwork on the front cover and liner notes on the back or inside cover. Most albums included three or four records, with two sides each, making six or eight compositions per album; the 12-inch LP record, or 33 1⁄3 rpm microgroove vinyl record, is a gramophone record format introduced by Columbia Records in 1948. A single LP record had the same or similar number of tunes as a typical album of 78s, it was adopted by the record industry as a standard format for the "album". Apart from minor refinements and the important addition of stereophonic sound capability, it has remained the standard format for vinyl albums.
The term "album" was extended to other recording media such as Compact audio cassette, compact disc, MiniDisc, digital albums, as they were introduced. As part of a trend of shifting sales in the music industry, some observers feel that the early 21st century experienced the death of the album. While an album may contain as many or as few tracks as required, in the United States, The Recording Academy's rules for Grammy Awards state that an album must comprise a minimum total playing time of 15 minutes with at least five distinct tracks or a minimum total playing time of 30 minutes with no minimum track requirement. In the United Kingdom, the criteria for the UK Albums Chart is that a recording counts as an "album" i
Ticknor and Fields
Ticknor and Fields was an American publishing company based in Boston, Massachusetts. In 1832 William Davis Ticknor and John Allen began a small bookselling business which operated out of the Old Corner Bookstore located on Washington and School streets in Boston, Massachusetts; the space had been used by publishers Carter & Hendee, who hired a teenaged James Thomas Fields as an apprentice. When Ticknor and Allen began their business, Fields joined them. A year Allen withdrew from the firm, Ticknor continued business under William D. Ticknor and Company; when John Reed and Fields became partners in 1845, the imprint was changed to Ticknor and Fields. Reed retired in 1854 and the imprint was renamed as Ticknor and Fields, which became well known. During these years the firm purchased and printed the Atlantic Monthly and the North American Review. In 1842 Ticknor became the first American publisher to pay foreign writers for their works, beginning with a check to Alfred Tennyson; these were prosperous years for the firm, they compiled an impressive list of authors, Horatio Alger, Lydia Maria Child, Charles Dickens, Ralph Waldo Emerson, Nathaniel Hawthorne, Oliver Wendell Holmes, Henry Wadsworth Longfellow, James Russell Lowell, Harriet Beecher Stowe, Alfred Tennyson, Henry David Thoreau, Mark Twain, John Greenleaf Whittier.
The Old Corner Bookstore had become the publishing meeting place for these authors. Many writers visited many times a week; the success of the firm was in part to the matched but varied talents of Ticknor and Fields. Ticknor gave his attention to the financial and manufacturing departments while Fields focused on literary relations and social aspects of the business, it was during these years that Ticknor and Fields developed a close relationship with the Riverside Press, founded by Henry Oscar Houghton in 1852. In the spring of 1864, Ticknor accompanied Nathaniel Hawthorne on a trip to restore the author's health, at the urging of his wife Sophia Hawthorne. During the trip, Ticknor became ill with pneumonia. Hawthorne wrote to Fields that "our friend Ticknor is suffering under a billious attack... He had seemed uncomfortable, but not to an alarming degree." Ticknor died on the morning of April 10, 1864. Upon Ticknor's sudden and unexpected death, interests in the firm were carried on by his son Howard M. Ticknor.
During these years the business had outgrown the Old Corner Bookstore and Fields, now in charge of the company, was no longer interested in the retail store. He sold the Old Corner Bookstore on November 12, 1864, moved the publishing house to 124 Tremont Street; the firm began to publish Our Young Folks edited by Howard M. Ticknor; the younger Ticknor soon retired and, in 1868, the firm was reorganized as Fields, Osgood, & Co. Benjamin Holt Ticknor, son of William Davis Ticknor, was admitted at a partner in 1870. On New Year's Day, 1871, Fields announced his retirement from the business at a small gathering of friends, intending to focus on his own writing. On January 2, 1871, the remaining partners bought out Fields's share of the company for $120,000 and it was renamed James R. Osgood & Co. Osgood, who considered Fields a mentor, attracted substantial new talent and published new works by Thomas Bailey Aldrich, Bret Harte, William Dean Howells, Henry James, Sarah Orne Jewett, Lucy Larcom, Elizabeth Stuart Phelps Ward, Celia Thaxter, Charles Dudley Warner.
The firm invested in heliotype printing technology, various periodicals, established a New York office. Within a few years, the company was in financial difficulty and Osgood and B. H. Ticknor were forced to sell off various assets, including many stereotype plates. By December 1878, they were forced to merge with Hurd & Houghton and became Houghton, Co. Henry Oscar Houghton became a partner in the deal; the partnership would last until 1880, when Osgood left to form a second J. R. Company. Houghton's company, now Houghton, Co, retained the rights to the Tickner and Fields backlist; the second J. R. Osgood and Co. was taken over by Benjamin Holt Ticknor in 1885 under the name Ticknor and Company. Ticknor and Company operated until 1889 when it became part of Houghton, Co. In 1908 the name was changed to Houghton Mifflin Company. In 1979, Houghton Mifflin revived the Fields name as and imprint. Chester Kerr was the editor from its reestablishment to 1984. Fiske, John.. Appletons' Cyclopædia of American Biography, New York: D. Appleton and Company Ticknor, Caroline..
Hawthorne and His Publisher, Boston: Houghton Mifflin Company - via the Internet Archive American National Biography Online, retrieved June 25, 2008 The LUCILE Project, retrieved June 25, 2008 Ticknor and Fields listing at Biblio.com Ticknor and Fields records, 1839-1881, Houghton Library, Harvard University
Bill Lordan, is an American rock music drummer, in a number of bands, such as The Mystics, Robin Trower Band and Sly & The Family Stone. He began playing in sixth grade. Lordan started his recording career with The Amazers, The Mystics, The Esquires and Gypsy, a progressive rock band from Minnesota, recording three albums with them from 1971 to 1973, he recorded with Bobby Womack and Ike and Tina Turner. He joined Sly & The Family Stone. By 1974, Sly & The Family Stone released the album Small Talk. Along with violinist Sid Page, The first drummer for Sly & The Family Stone was Greg Errico, succeeded on the album Fresh by Andy Newmark. In late 1974, Lordan joined Robin Trower's band debuting on the album For Earth Below, he stayed with Trower until late 1987, his last recording during his stint being the B. L. T. Album with Jack Bruce. In 1980 he was endorsed by The Zildjian Company and was included in the Zildjian Cymbal Set Up Book of famous drummers, he was endorsed by Rogers and DW Drum Companies and Remo and Aquarian Companies.
He played with the Darrell Mansfield Band, the Dave Steffen Band and The Chris Aaron Band before starting his own band, The Bill Lordan Experiment, in 2000. Bill is married to Diana Olson, a freelance entertainment writer. 1964 The Amazer's: It's You For Me 1967 The Esquire's: Get On Up 1968 The Mystics: Pain 1971 Gypsy: In the Garden 1972 Gypsy: Antithesis 1973 Gypsy: Unlock the Gates 1974 Sly and the Family Stone: Small Talk 1974 Robin Trower: For Earth Below 1975 Ike and Tina Turner: Sexy Ida 1975 Bobby Womack: I Don't Know What The World Is Coming To 1975 Robin Trower: BBC Radio 1: Live in Concert 1976 Robin Trower: Long Misty Days 1975 Robin Trower: Live 1977 Robin Trower: In City Dreams 1978 Robin Trower: Caravan to Midnight 1980 Robin Trower: Victims of the Fury 1981 Robin Trower & Jack Bruce: B. L. T. 1983 Darrell Mansfield Band: The Vision 1990 Spellbinder 1990 Dave Steffen Band: Blues Cruise Live 1993 Dave Steffen Band: Give Me A Thril 1994 The Bill Lordan Drum Beat Instruction Video 1996 Robin Trower: King Biscuit Flower Hour 1997 Dave Steffen Band: Flying Potion 2000 Charlie Souza: Live Your Dream 2000 Bill Lordan Experiment: BLX Live at the Coach House 2001 Charlie Souza: 9 Ball In The Corner Pocket 2001 Bill Lordan Experiment: Emotional Blackmail 2003 Talkin' To Angels 2003 Calvin James: It Ain't Over 2003 Bill Lordan Experiment: Here Comes The Storm 2004 Chris Aaron Band: 5 Miles to Freedom 2004 Lordan/Serrato: Eyes of a Woman 2004 Bill Lordan Experiment: The Best of BLX 2014 Bill Lordan Experiment: The NEW Best of BLX 2015 Bill Lordan Experiment: The Best of BLX II 2015 The Bill Lordan History CD 2015 The Robin Trower Band Live at the Paramount Theater, Seattle, WA.
CD 3/7/75 2015 The Robin Trower Band Victims of the Fury Tour Live CD at the Kiel Opera House, St. Louis, MO 4/10/80 2016 Bill Lordan Experiment: The Best of BLX III 2016 The Robin Trower DVD of TV Shows and Concerts 2016 The Robin Trower Band Live at New Georges, San Rafael, CA. 4/5/87 2016 The Robin Trower Band Live at Winterland, San Francisco, CA 3/15/75 2016 The Robin Trower Band Live The BBC Recordings 2016 The Robin Trower Band Live The Long Misty Days Tour CD 2016 The Robin Trower Band Live For Earth Below Tour CD 2016 The Robin Trower Band Live at Leeds University, England 2/15/75 2016 The Robin Trower Band Live at Madison Square Garden, NY 3/24/76 2017 The Robin Trower Band The Best of In City Dreams CD 2017 The Robin Trower Band Bridge of Sighs Tour CD 2017 The Robin Trower Band Live at City Hall, England CD 2017 The Robin Trower Band live in Gothenburg, Sweden 2/75 2017 Faith 2017 Feel The Spirit 2017 Gypsy Live at the St. Paul Winter Carnival 1973 2017 Gypsy Live at Armstrong High School, Minneapolis 1971 2017 The Robin Trower Band Long Misty Days Recording Sessions 2017 The Robin Trower Band Caravan To Midnight Recording Sessions 2017 The Best of The Dave Steffen Band
A Whole New Thing (Sly and the Family Stone album)
A Whole New Thing is the debut album by funk/soul band Sly and the Family Stone, released in 1967 on Epic/CBS Records. The album was released to mixed criticism and failed to make an impact from a commercial standpoint and did not chart. CBS Records executive Clive Davis prevailed upon band leader Sly Stone to create a more commercial album. Unlike Sly and the Family Stone albums, A Whole New Thing was recorded live in the studio instead of being overdubbed and featured less of a pop feel than releases such as Dance to the Music and Stand!. The lead vocals are shared between Sly Stone, Freddie Stone, Larry Graham. All tracks written by Sylvester Stewart, produced and arranged by Sly Stone for Stone Flower Productions. "Underdog" – 3:59 "If This Room Could Talk" – 3:00 "Run, Run" – 3:14 "Turn Me Loose" – 1:52 "Let Me Hear It from You" – 3:35 "Advice" – 2:22 "I Cannot Make It" – 3:20 "Trip to Your Heart" – 3:43 "I Hate to Love Her" – 3:30 "Bad Risk" – 3:04 "That Kind of Person" – 4:25 "Dog" – 3:10 1995 CD reissue: "What Would I Do" 2007 CD limited edition reissue: "Underdog" "Let Me Hear It From You" "Only One Way Out of This Mess" "What Would I Do" "You Better Help Yourself" Sly and the Family StoneSly Stone – vocals, guitar, celeste and more Freddie Stone – vocals, guitar Larry Graham – vocals, bass guitar Cynthia Robinson – trumpet, vocal ad-libs Jerry Martini – saxophone Greg Errico – drums Little Sister – background vocals
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