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Sly And The Family Stone Stand'
Stand!Ranked 118/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Stand!, the fourth album from Sly & the Family Stone, could have almost pulled double-duty as a greatest hits package for the band. Laced with sure-fire winners, this 1969 LP put Sly and Co. firmly on the road to super-stardom. Four of the album's seven songs, including the Hall of Fame tracks Everyday People and I Want To Take You Higher, shot straight into the national charts. This visionary work also introduced far-sighted FM radio stations to the goosebump-inducing sounds of Don't Call Me Nigger, Whitey, a song that accurately portrayed racial tensions in America in a manner that no one could have seen coming. On a musical level, the band was now tight as a cork in a bottle of vintage wine.1. Stand!
2. Don't Call Me Ni**er, Whitey
3. I Want To Take You Higher
4. Somebody's Watching You
5. Sing A Simple Song
6. Everyday People
7. Sex Machine
8. You Can Make It If You Try$28.99Vinyl LP - Sealed Buy Now
I'm Just Like You: Sly's Stone Flower 1969-70Compilation And Notes By Alec Palao
An Exclusive New Interview With Sly Stone Himself
In-depth Liner Notes With First-hand Reminiscences Of The Stone Flower Era From Many Of The Participants
Features All Five Stone Flower Produced Singles Plus Ten Previously Unissued Cuts From The Label Archives
All Tracks Newly Remastered From The Original Tapes
In 1970, The Family Stone were at the peak of their popularity, but the maestro Sly Stone had already moved his head to a completely different space. The first evidence of Sly's musical about-turn was revealed by the small catalog of his new label, Stone Flower: a pioneering, peculiar, minimal electro-funk sound that unfolded over just four seven-inch singles. Stone Flower's releases were credited to their individual artists, but each had Sly's design and musicianship stamped into the grooves-and the words "Written by Sylvester Stewart/Produced and arranged by Sly Stone" on the sticker.
Set up by Stone's manager David Kapralik with distribution by Atlantic Records, Stone Flower was, predictably, a family affair: the first release was by Little Sister, fronted by Stone's little sister Vaetta Stewart. It was short lived too-the imprint folded in 1971-but its influence was longer lasting. The sound Stone formulated while working on Stone Flower's output would shape the next phase in his own career as a recording artist: it was here he began experimenting with the brand new Maestro Rhythm King drum machine. In conjunction with languid, effected organ and guitar sounds and a distinctly lo-fi soundscape, Sly's productions for Stone Flower would inform the basis of his masterwork There's A Riot Goin' On.
The first 45 came in February 1970: Little Sister's dancefloor-ready "You're The One" hit Number 22 in the charts-the label's highest showing. The follow-up, "Stanga, also by Little Sister, made the wah pedal the star. The third release came from 6IX, a six-piece multi-racial rock group whose sole release, a super-slow version of The Family Stone's "Dynamite, featured only the lead singer and harmonica player from the group. Joe Hicks was the final Stone Flower stablemate; his pulsing, electronic Life And Death In G&A" is one of the bleakest moments Sly Stone ever created on disc (Hicks' prior single for Scepter, "Home Sweet Home," the first released Stone Flower production, is also included).
This long overdue compilation of Sly's Stone Flower era gathers each side of the five 45s plus ten previously unissued cuts from the label archives, all newly remastered from the original tapes. In these grooves you'll find the missing link between the rocky, soulful Sly Stone of Stand! and the dark, drum machine-punctuated, overdubbed sound of There's A Riot Going On. I'm Just Like You: Sly's Stone Flower 1969-70 opens up the mysteries of an obscure but monumental phase in Stone's career.1. You're The One (Parts 1 & 2) - Little Sister
2. Just Like A Baby - Sly
3. Home Sweet Home (Part 2) - Joe Hicks
4. I'm Just Like You
5. Somebody's Watching You (full band version) - Little Sister
6. Life & Death In G & A (Parts 1 & 2) - Joe Hicks
7. Trying To Make You Feel Good
8. Stanga - Little Sister
10. You're The One (early version) - Little Sister
11. Africa - Sly
12. I'm Goin' Home (Part 1) - Joe Hicks
13. Somebody's Watching You - Little Sister
14. You Can, We Can
15. Spirit - Sly
16. I'm Just Like You (full band version)
17. Scared - Sly
18. Dynamite (alternate version)$26.99Vinyl LP - 2 LPs Sealed Buy Now
A Whole New ThingImport
A Whole New Thing is the debut album of Sly and the Family Stone, released in 1967. Unlike later 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 later releases such as Dance to the Music and Stand!. The lead vocals are shared between Sly Stone, Freddie Stone, and Larry Graham; Rose Stone would not join the band until they began work on Dance to the Music.
The album is more restrained and not nearly as funky or psychedelic as their subsequent efforts, owing far more to traditional Soul arrangements. These aren't that traditional, though; Sly is already using goofier and/or more thoughtful lyrics than the Soul norm, and taking some cues from Rock in his adventurous and unexpected song construction.1. Underdog
2. If This Room Could Talk
3. Run, Run, Run
4. Turn Me Loose
5. Let Me Hear It From You
8. I Cannot Make It
9. Trip To Your Heart
10. I Hate To Love Her
11. Bad Risk
12. That Kind Of Person
13. Dog$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
There's A Riot Goin' On (45 RPM) (Awaiting Repress)Ranked 99/500 on Rolling Stone Magazine's 500 Greatest Albums of All Time.
Sly And The Family Stone There's A Riot Goin' On 180 gram 45RPM 2LP from ORG Music
Inducted into the Grammy Hall Of Fame in 1999 & Ranked #99 on Rolling Stone's 500 Greatest Albums Of All Time!
More than four decades after they first stormed the Pop and R&B charts in the winter of 1968 with "Dance To the Music" - a groundbreaking jam that has the distinction of being chosen for the Grammy Hall Of Fame, the Rock And Roll Hall Of Fame's 500 Songs That Shaped Rock, and Rolling Stone magazine's 500 Greatest Songs Of All Time - the music of Sly and the Family Stone is more vital than ever.
The band's catalog (every single composition penned by Sylvester Stewart aka Sly Stone) includes their three career-defining RIAA gold Billboard #1 Pop/ #1 R&B smashes, "Everyday People," "Thank You (Falletinme Be Mice Elf Again)" and "Family Affair," and their signature Top 40 hits that began with "Dance To the Music" and went on to include "Stand!," "Hot Fun In the Summertime," "Runnin' Away," "If You Want Me To Stay," "Time For Livin', and more.
Those songs not only inspired an era of youthful rebellion and independence, but also had a potent effect on the course of modern music in general. A dazzling fusion of psychedelic rock, soul, gospel, jazz, and Latin flavors, Sly's music brought the next step - funk - to a disparate populace of hip artists. From Miles Davis and Herbie Hancock, to the halls of Motown and George Clinton's P-Funk, from Michael Jackson and Curtis Mayfield, down the line to Bob Marley, the Isley Brothers, Prince, Public Enemy, Red Hot Chili Peppers, Arrested Development, the Black Eyed Peas, the Roots, OutKast and on and on, Sly's DNA is traceable to every cell of the musical stratosphere.
Since it took almost two years to make, the fifth album by bonafide superstars Sly and the Family Stone had everyone salivating in anticipation. Needless to say, Sly did not disappoint! 1971's There's A Riot Goin' On finds the Bay Area-based genius getting funkier than ever before, even as his artistic vision becomes progressively darker. Some may have been disappointed that Sly didn't simply re-create the chart successes of earlier singles, but who can argue with the flat-out brilliance of turning recent big hit Thank You (Falettinme Be Mice Elf Agin) on its head to create the mind-boggling Thank You For Talkin' To Me Africa.
Two of this hypnotic album's best tunes Family Affair and Runnin' Away were gigantic chart hits, and There's A Riot Goin' On hit #1 Pop/ #1 R&B within a few weeks of its release in November, proving beyond any shadow of a doubt that Sly Stone could totally deliver the goods! A transformative masterpiece, There's A Riot Goin' On was inducted into the Grammy Hall Of Fame in 1999, and is ranked #99 on Rolling Stone magazine's '500 Greatest Albums Of All Time.'Luv N' Haight
Just Like A Baby
Africa Talks To You The Asphalt Jungle
There's A Riot Goin' On
Brave & Strong
(You Caught Me) Smilin'
Thank You For Talking To Me Africa$49.99180 Gram Audiophile Virgin Vinyl 45 RPM LP- 2 LPs Sealed AWAITING REPRESS Buy Now
Greatest HitsGreatest Hits is a compilation album by American recording group Sly and the Family Stone. It was originally released on November 21, 1970, by Epic Records. Comprising five singles and their b-sides along with one additional single and one album track, it includes all of the singles from the albums Dance to the Music (1968), Life (1968), and Stand! (1969), and all of their charting B-sides. The versions on this compilation are not the single mixes in all cases; some songs appear here in their album lengths and mixes. Mixes sometimes have different timings and differences in vocals and or instrumentation.
Three tracks released as singles in 1969 appear on album for the first time here: Hot Fun in the Summertime, Everybody Is a Star, and Thank You (Falettinme Be Mice Elf Agin).
Greatest Hits was certified quintuple platinum by the Recording Industry Association of America (RIAA), having shipped five million copies in the United States.1. I Want To Take You Higher
2. Everybody Is a Star
6. You Can Make It If You Try
7. Dance to the Music
8. Everyday People
9. Hot Fun in the Summertime
11. Sing A Simple Song
12. Thank You (Falettinme Be Mice Elf Agin)$19.99Vinyl LP - Sealed Buy Now
Get Thy BearingsRobert Walter performs all his own stunts. For 20 years, the San Diego native has been pulling drawbars and pushing the limits of the Hammond B3 organ. As a founding member of the Greyboy Allstars, he helped usher in the funk-jazz renaissance of the early '90s and has continued to keep one hand comping chords in the instrument's funky past, while the other explores ever-new melodic terrain. On June 25, his long-standing project, Robert Walter's 20th Congress, returns with, Get Thy Bearings, via The Royal Potato Family. It was a recent move from New Orleans to Los Angeles that jump-started the 20th Congress who hadn't recorded a studio album in ten years. The nine-track effort presents Walter's organ, piano, Rhodes and synthesizer driving an all-star line-up rounded out by guitarist/bassist Elgin Park, drummer Aaron Redfield, sax players Karl Denson and Cochemea Gastelum, and percussionist Chuck Prada.
Get Thy Bearings is drenched in the vintage old school soul, funk and jazz vibe of Walter's heroes like Big John Patton, but it also reflects his recent work scoring films. There's a conceptual depth to the songwriting that draws on elements of narrative and character development, lending a cinematic color to the proceedings. The tracks range from the Sly Stone-style soul vamp of Little Business to the heavy gospel of Crux. Dog Party might as well be the theme song to a cartoon of the same name, while Don't Chin the Dog shifts from delicate shuffle to horn-drenched boogaloo. Things get eerie on Up From the Skies, a Jimi Hendrix cover rendered nearly unrecognizable in washes of electric Miles. Similarly, the album's title track is a shrewd reworking of the 1968 Donovan tune Walter first discovered on compilation of sample-friendly breakbeats, full of fuzz guitar and a mercurial organ solo.1. Hunk
2. Little Business
3. Get Thy Bearings
5. Dog Party
6. Inversion Layer
8. Don't Chin The Dog
9. Up From The Skies$16.99Vinyl LP - Sealed Buy Now
On The CornerMiles Davis On the Corner on Numbered Limited Edition 180g LP from Mobile Fidelity
Get Down and Make It Funky: Miles Davis' Groundbreaking On the Corner Focuses on the Groove and Bottom End
Mastered From the Original Master Tapes: Mobile Fidelity 180g LP Reveals Multiple Levels of Rhythm, Visceral Bass, and Pioneering Production Techniques In Transparent Fashion
Exotic, Bold, Streetwise: Spirited 1972 Album Embraces Davis' Jungle Sound With Percussive Foundations, Trance Loops, and Transformational Arrangements
Miles Davis' boundlessly influential On the Corner was so far ahead of its time upon release in 1972, the jazz cognoscenti rejected its groundbreaking concoction as middling in nature. Yet time has a way of righting wrongs and shifting views by adding needed context and perspective to visionary ideas, music, and approaches - the likes of which fill Davis' boldest and most controversial - undertaking. Designed to bring the focus back on the groove and bottom-end frequencies, the funk-loaded On the Corner revolutionized jazz. It also set new standards for record production, presaging remixing and electronica by more than a decade. And the work has never sounded more thrilling.
Mastered from the original master tapes and pressed at RTI, Mobile Fidelity's numbered limited-edition 180g LP of On the Corner exposes the internal mechanisms, free-associated playing, and then-unmatched studio techniques in vivid audiophile-grade sonics. The low end, crucial to every composition here, is both heard and felt, with locked-in bass lines and low-range percussion conveyed as taut, solid, and visceral passages. You can even discern the multiple levels of rhythm Davis employed on complex tracks such as Black Satin, as On the Corner stands as his first effort to use overdubbing and multiple tape machines.
New degrees of spaciousness and airiness - equally important to the musique concrete arrangements - give the impression Davis and Co.'s creations float in space. Instruments are portrayed in three-dimensional manners, rhythmic loops retain tonal purity, and horn solos skitter across an extra-wide soundstage that takes listeners into Columbia's Studio E. Mobile Fidelity's analog version captures Teo Macero's innovative production - and the trumpeter's cutting-edge aural collages - in definitive fashion.
Heavily inspired by Sly and the Family Stone, On the Corner portrays street vibes and remains Davis' blackest-sounding record. The conscious attempt to connect with youthful audiences tapped into rock and funk is evident not only on the colorful cartoon cover art depicting hot-pants and zoot-suit revelers, but in the music's emphasis of recurring drum and bass grooves. Distinct from Davis' earlier fusion experiments, the record's long-misunderstood set dials back improvisation in favor of beats, loops, and atmospherics that generate trance-like effects. While Davis utilizes his band for core duties - Chick Corea and Herbie Hancock prominently figure - he also relies on an all-star cast of sidemen for concentrated soloing and additional support.
With rhythm providing the basic foundation, other notes fall into place, with their positioning steered by Macero and Davis' editing-room techniques. Looking to the manipulation-based work of Karlheinze Stockhausen and teaming with Stockhausen disciple Paul Buckmaster, Davis re-imagines what grooves constituted and could accomplish throughout On the Corner. The shapes of the songs become completely transformed as they progress. Faint melodies, spacey chords, chunky riffs, wah-wah fills, and repeated motifs bounce in and out of a sonic funhouse that wouldn't be out of place at a Harlem block party. Exotic, intrepid, and filled with Davis' jungle sound, On the Corner remains daringly hip more than four decades later.
This title is not eligible for discount.1. On the Corner/New York Girl/Thinkin' One Thing and Doin' Another/Vote for Miles
2. Black Satin
3. One and One
4. Helen Butte/Mr. Freedom X$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now