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DISCID=b10db20d
DTITLE=Sly & The Family Stone / Stand! (Remastered + Expanded)
DYEAR=1969
DGENRE=Rock
TTITLE0=Stand!
TTITLE1=Don't Call Me Nigger, Whitey
TTITLE2=I Want To Take You Higher
TTITLE3=Somebody's Watching You
TTITLE4=Sing A Simple Song
TTITLE5=Everyday People
TTITLE6=Sex Machine
TTITLE7=You Can Make It If You Try
TTITLE8=Stand! (Mono Single Version)
TTITLE9=I Want To Take You Higher (Mono Single Version)
TTITLE10=You Can Make It If You Try (Previously Unissued Mono Single V
TTITLE10=ersion)
TTITLE11=Soul Clappin' II (Previously Unissued)
TTITLE12=My Brain (Zig-Zag) - (Instrumental - Previously Unissued)
EXTD=Stand! (Remastered + Expanded)\n2007 Epic/Legacy\n\nOriginally Re
EXTD=leased May 3, 1969\nCD Edition Released August 1987\nGold MasterS
EXTD=ound CD Edition (Longbox) Released May 11, 1993\nGold MasterSound
EXTD= CD Edition (Slipcase) Released August 30, 1994\nLimited Deluxe E
EXTD=dition Collector's Box Set Released March 20, 2007\nRemastered + 
EXTD=Expanded CD Edition Released April 24, 2007\n\nAMG EXPERT REVIEW:
EXTD= Stand! is the pinnacle of Sly & the Family Stone's early work, a
EXTD= record that represents a culmination of the group's musical visi
EXTD=on and accomplishment. Life hinted at this record's boundless ent
EXTD=husiasm and blurred stylistic boundaries, yet everything simply g
EXTD=els here, resulting in no separation between the astounding funk,
EXTD= effervescent irresistible melodies, wildly psychedelicized guita
EXTD=rs, and deep rhythms that were tight, yet expansive, popping in k
EXTD=notty cadences while never coming close to losing the groove. Add
EXTD= to this a sharpened sense of pop songcraft (that was developing 
EXTD=into a sophisticated art form by this time), elastic and instinct
EXTD=ual band interplay, and a flowering of Sly's political consciousn
EXTD=ess that didn't need t be hidden by calls for dancing and other s
EXTD=ocial forms and the result is utterly stunning. Yes, the jams ("D
EXTD=on't Call Me Nigger, Whitey," "Sex Machine") wind up meandering e
EXTD=ver so slightly, but they're surrounded by utter brilliance, from
EXTD= the rousing call to arms of "Stand" to the unification anthem "E
EXTD=veryday People" to the unstoppable "I Want to Take You Higher." A
EXTD=ll of it sounds like the Family Stone, thanks not just to the com
EXTD=munal lead vocals but to the brilliant interplay of instruments, 
EXTD=voices and rhythms assembled so tightly. Each track is distinct, 
EXTD=emphasizing a different side of the band's musical personality. A
EXTD=s a result, Stand! winds up as a creation that is infectious and 
EXTD=informative, invigorating and thought-provoking -- it's stimulati
EXTD=ng in every sense of the word. Few records of its time touched it
EXTD=, and Sly topped it only by offering its opposite the next time o
EXTD=ut. Legacy's gorgeously remastered reissue of the album includes 
EXTD=five bonus cuts. There are mono single versions- of the title tra
EXTD=ck, and "I Want To Take You Higher," as well as a beautiful uniss
EXTD=ued single version of "You Can Make It If You Try," freaky instru
EXTD=mental called "My Brain (Zig Zag)," and the unreleased "Soul Clap
EXTD=pin' II."  -- Stephen Thomas Erlewine and Thom Jurek\n\n\nAMG EXP
EXTD=ERT REVIEW: (Collector's Box Set) Sly & the Family Stone: The Col
EXTD=lection contains the seven albums the group released on Epic Reco
EXTD=rds between 1968 and 1974 (which were recorded between 1967 and 1
EXTD=971). Sony BMG has simply packaged these discs -- A Whole New Thi
EXTD=ng, Dance to the Music, Life, Stand, There's a Riot Goin' On, Fre
EXTD=sh, and Small Talk -- all of which have been completely remastere
EXTD=d and contain bonus material and liner essays, all in a slipcase 
EXTD=box. They've all been released separately in digipack, so there i
EXTD=sn't anything additional to be had. The price point isn't really 
EXTD=different either, and given the wildly varying quality of some of
EXTD= these sides, buying the box is for a very specific kind of fan o
EXTD=r collector.  -- Thom Jurek \n\n\nAmazon.com Editorial Review\nNe
EXTD=ed proof of how great Sly and The Family Stone were? Just check o
EXTD=ut the track listing for Stand! The title track, "I Want to Take 
EXTD=You Higher". "You Can Make it if You Try", "Everyday People",(bef
EXTD=ore it was a car commercial)--and this isn't even the greatest hi
EXTD=ts package! Hippies with attitude (and serious soul moves), Stone
EXTD= and crew were one of the most influential and free-wheeling forc
EXTD=es in R&B/rock. Stand shows why. Gut bucket bass lines (thank you
EXTD= Larry Graham), joyous take-you-there anthems, and seething racia
EXTD=l politics that made you move--and think--while on the dance floo
EXTD=r. --Amy Linde\n\n\nAMAZON.COM CUSTOMER REVIEW\n"I wanna take you
EXTD= higher..." (4.5 stars), November 24, 2006\nReviewer: finulanu "A
EXTD=s long as it rhymes, we can have it make sense later" (A parallel
EXTD= universe)\nA classic record indeed - out of the eight tracks, FI
EXTD=VE became hits: Everyday People is a just classic, a catchy, but 
EXTD=intelligent call for unity that topped the charts and is behind o
EXTD=nly Dance to the Music in terms of being Sly's signature song; I 
EXTD=Wanna Take You Higher is an electrifying jam, with great trumpet 
EXTD=and harominca solos, and my favorite Sly Stone song; Sing a Simpl
EXTD=e Song is an effective showpiece for the group's monster horn sec
EXTD=tion; the title track is another classic, with a heartstopping co
EXTD=da and positive, message-oriented lyrics; and You Can Make It If 
EXTD=You Try is a catchy, popwise tune with some cool gospel-influence
EXTD=d group vocals. I'd also pull for the jam Sex Machine, though the
EXTD= talkbox part dates the song slightly, there is some really cool 
EXTD=wah-wah and fuzz guitar, as well as a nice sax solo. You don't he
EXTD=ar much about it, but it's actually a good song. The rest? Somebo
EXTD=dy's Watching You is album filler; and while you have to commend 
EXTD=Sly for being brave enough to call a song "Don't Call Me N&^*@$, 
EXTD=Whitey" (here it is 2006 and I'm still afraid to say it!) in 1969
EXTD=, the song hasn't held up that well. Sure, it's not as important,
EXTD= or as good, as There's a Riot Goin' On, and the contemporary sin
EXTD=gles Hot Fun in the Summertime; Everybody is a Star and Thank You
EXTD= (Falettinme Be Mice Elf Agin) would've been welcome bonus tracks
EXTD=. But it's a solid record all the same. \n\n\nAMAZON.COM CUSTOMER
EXTD= REVIEW\nSly at His Best, March 4, 2005\nReviewer: R. F. Brummer 
EXTD="Spike" (Florida)\nI would have to agree with Brady's review that
EXTD= the novice should start with Greatest Hits, but Stand is probabl
EXTD=y the most eclectic, and therefore most representative album Sly 
EXTD=ever did. \n\nI was a college student in Columbus Ohio from '69 t
EXTD=o '71 and had the privilege of ushering at all the rock acts that
EXTD= came thru the college town. \n\nOnly Ike and Tina Soul Review co
EXTD=uld even come close to Sly live and in concert. Even though he sh
EXTD=owed up a couple hours late, no one remembered that after he got 
EXTD=done with us. The snippet of Sly in the Woodstock movie is a very
EXTD= small sip of Sly live. \n\nAs for "Sex Machine", I once sat in t
EXTD=he backyard of my boyhood farm with my girlfriend and watched a M
EXTD=idwestern, summertime thunderstorm roll in across the prairie hor
EXTD=izon. The noises, the anticipation, the buildup, were all perfect
EXTD=ly captured in Sex Machine. I never tire of it. \n\nYeah, Sly's l
EXTD=yrics may sometimes be repetitive, but this was 1969 and Sly and 
EXTD=his group broke so much new ground in music, texture, topical lyr
EXTD=ics, politics, that the depth of the lyrics can be forgiven. The 
EXTD=total package was a great ride for the short time they lasted.\n\n
EXTD=\nAMAZON.COM CUSTOMER REVIEW\nFantastic funk, January 26, 2005\nR
EXTD=eviewer: Greg Brady "columbusboy" (Capital City)\nWhen Sylvester 
EXTD=Stewart decided to come out from behind the microphone (as a San 
EXTD=Francisco DJ) and focus attention on making music for other DJs t
EXTD=o spin, he crafted some of the best funk/R&B ever made. Taking ro
EXTD=ck solid funk rhythms, melding them to catchy melodies and integr
EXTD=ation minded lyrics made him one of the late 60s/70s era's big hi
EXTD=t makers as well. The title track, "I Want to Take You Higher","S
EXTD=ing a Simple Song", "Everyday People" and "You Can Make it if You
EXTD= Try" all graced the charts. \n\nListening to these tunes even no
EXTD=w, it's obvious why. Sly knows exactly what needs to be added to 
EXTD=keep momentum going and the tune interesting: Handclaps and a bla
EXTD=ring clarinet figure in "Stand", the "All together now" shouts th
EXTD=at punch up "You Can Make it If You Try", the "boom-acka-lacka-la
EXTD=cka-boom" in "I Want to Take You Higher", the "do-re-mi" section 
EXTD=of "Sing a Simple Song". Even non-hit "Somebody's Watching You" i
EXTD=s tuneful and compelling. \n\nThe only complete wash is "Sex Mach
EXTD=ine" which begins orgasmically with a great guitar riff ridden by
EXTD= what SOUNDS like a guitar talkbox effect that REALLY starts to c
EXTD=ook when a second one is added...but unfortunately this goes on W
EXTD=AY past the point when there are still good musical ideas. (It's 
EXTD=a 13:45 long instrumental..) \n\nIf you're new to Sly, start with
EXTD= the Greatest Hits..they'll give you a reason to delve further in
EXTD=to his catalogue. When you start to do that, this is a great albu
EXTD=m to make your 2nd buy.\n\n\nAMAZON.COM CUSTOMER REVIEW\nSly and 
EXTD=the Family Stone at the height of their craft, 1969, January 10, 
EXTD=2005\nReviewer: Lawrance M. Bernabo (The Zenith City, Duluth, Min
EXTD=nesota)\nSly and the Family Stone are one of the great live bands
EXTD= of all-time, which they more than proved when they performed at 
EXTD=Woodstock, although I can remember them doing a couple of great g
EXTD=igs on "The Dick Cavett Show." So every time I hear anything by t
EXTD=his group I cannot help but lament that I am not listening to the
EXTD=m live, but that does not take away from the quality of their 196
EXTD=9 album "Stand!" What makes this the group's best work is that be
EXTD=tter than any other one of their albums it represents Sly Stone's
EXTD= vision of everything that music could be. That means covering a 
EXTD=lot of music styles with the common denominator being an infectio
EXTD=us enthusiasm that was always their defining element. \n\nThere w
EXTD=ere four hit singles off of this album, with "Everyday People" ma
EXTD=king it all the way to #1 on the Billboard charts, while "I Want 
EXTD=to Take You Higher" made it to #60 in 1969 but #38 in 1970, "Sing
EXTD= a Simple Song" made it to #89, and the title tune topped out at 
EXTD=#22. Musically I think "I Want to Take You Higher" is the best th
EXTD=ing Sly and the Family Stone ever did. The opening groove with th
EXTD=at awesome guitar riff, the driving beat and that blues harmonica
EXTD=, all combine to make this their definitive performance piece. Th
EXTD=en there is the message of how music can bring everybody together
EXTD=, so it is not just all fun and games. "Stand!" made it to number
EXTD= 13 on the album charts, but the key thing is that it spent over 
EXTD=100 weeks on the charts, which is a testament to both its quality
EXTD= and its importance. \n\nBehind the funky sound and the catchy me
EXTD=lodies, Sly Stone was writing songs with a cohesive social consci
EXTD=ousness. "Stand!' is an overt effort to bridge the gap between bl
EXTD=ack and white audiences, not to mention a precursor for the comin
EXTD=g disco movement. The second track, with its relatively shocking 
EXTD=title for the late 1960s, also talks about the virtues of integra
EXTD=tion, which makes sense given that the Family Stone was one of th
EXTD=e most integrated bands of that period. "Sing a Simple Song" pres
EXTD=ents this view of the world as well, but obviously "Everyday Peop
EXTD=le" represents the epitome of Stone's perspective, as we learn th
EXTD=at the key to the world is "different strokes, for different folk
EXTD=s." \n\nThe only track that is really at odds with the tone and t
EXTD=enor of the rest of the album is "Somebody's Watching You," which
EXTD= takes on some added significance given the personal trouble Ston
EXTD=e would be facing in the 1970s. This song has darker lyrics than 
EXTD=any of the others. "Sex Machine" is an instrumental, with a rathe
EXTD=r innovative use of the wah-wah box and another infectious groove
EXTD=. The final track, "You Can Make It If You Try," is another remin
EXTD=der of how the band was always thinking about how songs would wor
EXTD=k live (in this case, as a set-up for the group to do jam like cr
EXTD=azy at the end of their concert). Certainly you want to have the 
EXTD=first "Woodstock" album for the group's live tracks and you need 
EXTD=to have something with "Dance to the Music" on it, like a Sly and
EXTD= the Family Stone hits collection, but "Stand!" remains a must-ha
EXTD=ve album from the late 1960s. \n\n\nAMAZON.COM CUSTOMER REVIEW\nS
EXTD=tand: an overlooked classic, May 22, 2004\nReviewer: A music fan\n
EXTD=I just bought this CD after reading about it in a guide to funk p
EXTD=ublished in SPIN magazine. I personally have loved funk, soul, an
EXTD=d hip-hop for years, but somehow I'd always overlooked Sly Stone,
EXTD= though I did enjoy the radio hits. Well, what they play on the r
EXTD=adio is merely scratching the surface. "Stand" is a true masterpi
EXTD=ece- a delicious mix of heavy funk, hook-laden pop, and still-rel
EXTD=evant politics. It's not hard to see how influential Sly's music 
EXTD=was, since one can hear traces of it in artists ranging from P-Fu
EXTD=nk to Snoop Dogg. The chunky yet melodic riffs on this album have
EXTD= also become a staple of 70's movie soundtracks. Favorite tracks 
EXTD=include "Somebody's Watching You," "Sex Machine," and the timeles
EXTD=s "Everyday People." And then there's "Don't Call Me Nigger, Whit
EXTD=ey", with its scathing look at racism set to a choppy, irresistib
EXTD=le groove. "Stand" has led me to search for Sly's other works, as
EXTD= well. Truly an underrated and satisfying CD.\n\n\nAMAZON.COM CUS
EXTD=TOMER REVIEW\nThe Funk Blueprint For Millenniums To Come, Septemb
EXTD=er 28, 2003\nReviewer: Tall Paul (San Diego, CA United States)\nJ
EXTD=ames Brown created the Funk but Sly took his groove to another le
EXTD=vel. This album even influenced James himself. Sly's "Sex Machine
EXTD=" was made before James made his. Album was so powerful it even i
EXTD=nfluenced Jimi Hendrix. You can hear Jimi play the riff to "Sing 
EXTD=A Simple Song" on his own Band Of Gypsys album. This album influe
EXTD=nced too many artists to mention, the most noteworthy being Georg
EXTD=e Clinton, Stevie Wonder, and Prince. This album was about 6 or 7
EXTD= years ahead of its time back in 1969 and made all the other arti
EXTD=sts play catch-up. Of all the funkiest albums ever created by Man
EXTD=, this is in the Top 3. This is the album where Larry Graham pion
EXTD=eered the slap bass technique. "Hot Fun In The Sunshine" was not 
EXTD=included on this album but was later released on Greatest Hits a 
EXTD=year later.\n\n\nAMAZON.COM CUSTOMER REVIEW\nWhat does anybody se
EXTD=e in this album?, October 29, 2002\nReviewer: "simnia" (snowy bay
EXTD=ou country, USA)\nI know this is a classic album that influenced 
EXTD=a lot of bands, but I just never cared for it, not then and not n
EXTD=ow. There's just not enough substance to it--musically, technical
EXTD=ly, or lyrically. From the interesting song titles ("Stand!," "Do
EXTD=n't Call Me Nigger, Whitey," "Somebody's Watching You") one would
EXTD= expect some good political lyrics, but in these examples there's
EXTD= almost no message, just a lot of repetition of the song titles. 
EXTD=Since the music is basically funk, there are no interesting chord
EXTD= progressions, either. "Sex Machine" is a boring 13-minute funk j
EXTD=am based on an inane 2-note riff, and "Stand!" seems to wander po
EXTD=intlessly. The idea of shouting "Time!" at the end of the "Sex Ma
EXTD=chine" jam was probably just copied from the Chamber Brothers' so
EXTD=ng "Time Has Come Today" from 1968, so that wasn't original, eith
EXTD=er. There are no technically good solos, either. The only instrum
EXTD=ent of interest is the pre-Frampton wah-wah guitar mixed with voi
EXTD=ce, but the interest is in the sound, not melody or virtuosity. I
EXTD=t's also sad to note that their biggest hit song here, "Everyday 
EXTD=People" from 1969, was based on a trivial melody from a children'
EXTD=s rhyme. "I Want To Take You Higher" has some energy here, but is
EXTD= nothing like Sly's mind-blowing show at Woodstock later the same
EXTD= year. Maybe these guys were innovative on stage, and were influe
EXTD=ntial in the late '60s, but this album doesn't showcase their son
EXTD=gwriting skills or any other skills, from what I can see.\n\n\nAM
EXTD=AZON.COM CUSTOMER REVIEW\nthe gold standard, September 8, 2002\nR
EXTD=eviewer: E. D. Daniels (tampa, florida United States)\nKiddies, t
EXTD=his is the album i judge any black good music by, the prototype b
EXTD=lack music album from which any black artist worth his or her sal
EXTD=t has as their primary musicial influence, these cats broke more 
EXTD=musical ground from 67-73 with the exception of the Beatles or Mo
EXTD=town, the prototype funk album, social statement. Marvin Gaye, Ge
EXTD=orge Clinton, Gamble and Huff and Norrman Whitfield drank from it
EXTD=s fountain, Miles Davis changed his music because of it and it ho
EXTD=lds up as major musical statement 34 yrs later enuf said.\n\n\nAM
EXTD=AZON.COM CUSTOMER REVIEW\nA Brilliant Band At the Height of thier
EXTD= Powers., August 8, 2000\nReviewer: WILLIE A YOUNG II "willow" (H
EXTD=ouston, TX.)\nTime has done nothing to diminish the impact of thi
EXTD=s music. This is the most perfect collection of songs this dynami
EXTD=c band ever recorded. Notice I used the term band? Because Sly St
EXTD=one and Co. were truly a band in every sense of the word; a stron
EXTD=g, cohesive unit that kept pushed one another to new hieghts on e
EXTD=very new release and played with such funk and fire in concert, t
EXTD=hat thier power could get an entire audience dancing and chanting
EXTD= to the heavens (for proof, check out the bands appearance on fil
EXTD=m at Woodstock!) From Sly's soulful singing and organ playing, to
EXTD= the (still unmatched) funky fervor of Larry Graham's bass playin
EXTD=g and Cynthia 'Ecco' Robinson's drop dead, blaring trumpet the ba
EXTD=nd finds a groove on EVERY tune, locks in and never lets up until
EXTD= the closing song. The title track is a transendent piece of pop 
EXTD=music that still gives me chills (on the second chorus when all t
EXTD=he voices join in to sing, with building intensity;STAND! STAND! 
EXTD=STAND! , crank up your volume and see if it doesn't give you goos
EXTD=ebumps!) and urges the listener to take responsibilty in thier li
EXTD=ves. "Don't Call Me Nigger, Whitey" is still one of the most over
EXTD=tly political, innovative songs ever recorded. With it's almost r
EXTD=obotic, hypnotic arrangement, and pointed lyrics, it's a mini-mas
EXTD=terpiece on an album chock full of them. "I Want To Take You High
EXTD=er" does just that, it's simply impossible to not dance when this
EXTD= tune is playing. "Sing A Simple Song" has yet another tricky arr
EXTD=angement with several breakdowns, vocal interludes, spoken word c
EXTD=ourtesy of pianist/vocalist Rosie Stone, and a jazzy horn section
EXTD= over Greg Errico's snapping, funky drums in the background that 
EXTD=will have you nodding your head and pressing rewind, several time
EXTD=s! We are all familiar with "Everyday People", a classic that sec
EXTD=ures Sly Stone's place in history as a brilliant songwriter, and 
EXTD=is still uplifting no matter how many times you've heard it. The 
EXTD=sprawling, epic and almost unbearably bluesy "Sex Machine" is the
EXTD= bands' recorded tour-de-force, and not a single note is wasted. 
EXTD=The group truly stretches out on this extended (13:43) track that
EXTD=, breaks down to the slowest drumbeats I've ever heard and a real
EXTD=ly cool coda (Special Note: the joy these people felt when record
EXTD=ing is apparent when you hear them say, 'Time' which is followed 
EXTD=by a burst of laughter, and Sly accurately summing up the listene
EXTD=rs' feeling with a classic one-liner, 'we blew your mind huh! ') 
EXTD=\nDAMN RIGHT.\n\n\nAMAZON.COM CUSTOMER REVIEW\nStones Too Cold., 
EXTD=April 11, 2000\nReviewer: yygsgsdrassil "yygsgsdrassil" (Crossroa
EXTD=ds America)\nTo those who may have missed it when it was original
EXTD=ly released, just imagine how thrilled we all were to have the so
EXTD=unds of revolution captured by THIS California soul family...I al
EXTD=ways did love SATFS' version of "Somebody's Watching You" and if 
EXTD=you are not mesmerised or mind blown (as Sly himself is laughing 
EXTD=about) by "Sex Machine" even now then you are amongst a small min
EXTD=ority. Sounds of the revolution and the Summer of Love by Stewart
EXTD= and family....\n\n\nAMAZON.COM CUSTOMER REVIEW\nThe worthy succe
EXTD=ssor to a great intro album., March 17, 2000\nReviewer: Eric V. M
EXTD=oye (New York, by way of Dallas)\nSly. What an innovator! Seems a
EXTD=s if just about every popular group from Chicago Transit Authorit
EXTD=y to Funkadelic owed Sly many props (not to mention Toyota!)\nIt 
EXTD=was sure hard to top Sly's first album but somehow this one did. 
EXTD="I Want To Take You Higher", "Stand", "Everyday People", "Sex Mac
EXTD=hine".There was not much better in that time. This music still so
EXTD=unds great today, with sharp horn sections, LIVE vocals, and driv
EXTD=ing rhythms.\n\nWonderful music. Great messages. It doesn't get a
EXTD=ny better than this.\n\n\nAMAZON.COM CUSTOMER REVIEW\nThe documen
EXTD=t of a musical revolution, October 29, 1999\nReviewer: Philip Eld
EXTD=ring "Flow de Cologne" (Kln, Germany)\nThis is one of the CDs yo
EXTD=u can't get away from. It was 1969 when this album by Sly & TFS w
EXTD=as released and I bet the people haven't heard & seen something l
EXTD=ike this before. First of all the musical style: Too positive to 
EXTD=be blues, too much rock to be soul and too much soul to be rock -
EXTD= the PROTOTYPE of a FUNK album. Then the look: Sly was the first 
EXTD=one dressed in multi-colored clothes onstage what even inspired G
EXTD=eorge Clinton for Parliament and -most of all- Funkadelic. Then t
EXTD=hey were a multi-racial group. The title track "Stand!" is more r
EXTD=elated to the Beatles' music in the first part of the song but is
EXTD= transforming into Sly's thang in second. Amazing ! Then the othe
EXTD=r tracks are reflecting every band member (remind Larry Graham's 
EXTD=Central Station), they're full of political attitude (f.e. Stand!
EXTD=, Don't Call Me N*****, Whitey !; Sly's tracking down a guitar so
EXTD=und made with his mouth and Wah-Wah effect), sexual exploitation 
EXTD=(a sharp bluesy track called "Sex Machine") and Pop standards ("E
EXTD=veryday People"). Wild things and topics were explored on this OV
EXTD=ERLOOKED (yes, it is !)'69 masterpiece and you could also find a 
EXTD=bunch of HipHop samples in here like Digital Underground's beat f
EXTD=or the "Humpty Dance" (f.e.). It seems that the kids 2day are not
EXTD= interested in this music so the way to teach them simply is HipH
EXTD=op. Sampling kept the FUNK alive. But it's all about the promotio
EXTD=n, then Sly would even beat out the Stones... !\nOther suggestion
EXTD=s are: "There's A Riot Going On", "Dance To The Music", "Life" an
EXTD=d "Fresh."\n\n\nAMAZON.COM CUSTOMER REVIEW\nSly and the Family St
EXTD=one at the very height of their craft, February 5, 2005\nReviewer
EXTD=: Lawrance M. Bernabo (The Zenith City, Duluth, Minnesota)\nSly a
EXTD=nd the Family Stone are one of the great live bands of all-time, 
EXTD=which they more than proved when they performed at Woodstock, alt
EXTD=hough I can remember them doing a couple of great gigs on "The Di
EXTD=ck Cavett Show." So every time I hear anything by this group I ca
EXTD=nnot help but lament that I am not listening to them live, but th
EXTD=at does not take away from the quality of their 1969 album "Stand
EXTD=!" What makes this the group's best work is that better than any 
EXTD=other one of their albums it represents Sly Stone's vision of eve
EXTD=rything that music could be. That means covering a lot of music s
EXTD=tyles with the common denominator being an infectious enthusiasm 
EXTD=that was always their defining element. \n\nThere were four hit s
EXTD=ingles off of this album, with "Everyday People" making it all th
EXTD=e way to #1 on the Billboard charts, while "I Want to Take You Hi
EXTD=gher" made it to #60 in 1969 but #38 in 1970, "Sing a Simple Song
EXTD=" made it to #89, and the title tune topped out at #22. Musically
EXTD= I think "I Want to Take You Higher" is the best thing Sly and th
EXTD=e Family Stone ever did. The opening groove with that awesome gui
EXTD=tar riff, the driving beat and that blues harmonica, all combine 
EXTD=to make this their definitive performance piece. Then there is th
EXTD=e message of how music can bring everybody together, so it is not
EXTD= just all fun and games. "Stand!" made it to number 13 on the alb
EXTD=um charts, but the key thing is that it spent over 100 weeks on t
EXTD=he charts, which is a testament to both its quality and its impor
EXTD=tance. \n\nBehind the funky sound and the catchy melodies, Sly St
EXTD=one was writing songs with a cohesive social consciousness. "Stan
EXTD=d!' is an overt effort to bridge the gap between black and white 
EXTD=audiences, not to mention a precursor for the coming disco moveme
EXTD=nt. The second track, with its relatively shocking title for the 
EXTD=late 1960s, also talks about the virtues of integration, which ma
EXTD=kes sense given that the Family Stone was one of the most integra
EXTD=ted bands of that period. "Sing a Simple Song" presents this view
EXTD= of the world as well, but obviously "Everyday People" represents
EXTD= the epitome of Stone's perspective, as we learn that the key to 
EXTD=the world is "different strokes, for different folks." \n\nThe on
EXTD=ly track that is really at odds with the tone and tenor of the re
EXTD=st of the album is "Somebody's Watching You," which takes on some
EXTD= added significance given the personal trouble Stone would be fac
EXTD=ing in the 1970s. This song has darker lyrics than any of the oth
EXTD=ers. "Sex Machine" is an instrumental, with a rather innovative u
EXTD=se of the wah-wah box and another infectious groove. The final tr
EXTD=ack, "You Can Make It If You Try," is another reminder of how the
EXTD= band was always thinking about how songs would work live (in thi
EXTD=s case, as a set-up for the group to do jam like crazy at the end
EXTD= of their concert). Certainly you want to have the first "Woodsto
EXTD=ck" album for the group's live tracks and you need to have someth
EXTD=ing with "Dance to the Music" on it, like a Sly and the Family St
EXTD=one hits collection, but "Stand!" remains a must-have album from 
EXTD=the late 1960s. \n\n\nHalf.com Album Notes\nSly & The Family Ston
EXTD=e: Sylvester "Sly Stone" Stewart (vocals, guitar, harmonica, keyb
EXTD=oards); Freddie "Stone" Stewart (vocals, guitar); Larry Graham, J
EXTD=r. (vocals, bass); Jerry Martini (saxophone); Cynthia Robinson (t
EXTD=rumpet); Rosie "Stone" Stewart (piano); Greg Errico (drums).\n\nS
EXTD=TAND! was Sly & The Family Stone's fourth album, and contained th
EXTD=e hits "Everyday People" and the title track. It also contained S
EXTD=ly's first foray into social/political songwriting with "Don't Ca
EXTD=ll Me Nigger, Whitey," which touches on black and white racism.\n
EXTD=Sly Stone was too busy having a good time and living life to the 
EXTD=excess to begin to realize how influential his brand of funky sou
EXTD=l would become. Early signs of rap also surfaced on this album. C
EXTD=onfident, hard rocking and marvellously arrogant, the band were o
EXTD=utrageous and exciting; even five minutes of a cappella handclapp
EXTD=ing was riveting. Two classics appear on this --"I Want To Take Y
EXTD=ou Higher" and "Everyday People"--but the whole album is a necess
EXTD=ary purchase for students of goodtime soul, dance, rap and funk. 
EXTD=This family is the acknowledged leader.\n\nIndustry Reviews\nRank
EXTD=ed #118 in Rolling Stone's 500 Greatest Albums Of All Time - STAN
EXTD=D! is party politics at its most inclusive and exciting...\nRolli
EXTD=ng Stone (12/11/2003)\n\n\nROLLING STONE REVIEW\nLike Frank Zappa
EXTD='s Mothers, Sly Stone's group is unique. And, in fact, a comparis
EXTD=on of the two groups is not as far fetched as it first might seem
EXTD=. Both exude a superficial formlessness in their sounds. Both dem
EXTD=and, on one level at least, to be taken seriously. But while the 
EXTD=Mothers have taken pop music to previously unimaginable levels of
EXTD= complexity, Sly and the Family Stone Stone has gone in the other
EXTD= direction--to basics.\n\nAt first, Stand! seemed like soul music
EXTD= distorted, or soul music lacking its usual polish, but a couple 
EXTD=of listenings showed this to be a superficial impression. John Ma
EXTD=yall once called soul music "all showmanship," which, while typic
EXTD=ally purist of him, is largely true. While the Stone Family puts 
EXTD=on a show, it isn't showmanship.\n\nFirst of all, there is no att
EXTD=empt at sophistication. While all the Family Stones are competent
EXTD= musicians, their overall sound comes across more like a noisy cl
EXTD=amoring street gang who just happen to have some musical instrume
EXTD=nts in their possession, than a polished blend of musicians. And,
EXTD= vocally, they're much closer to the mid-Fifties black groups tha
EXTD=n present-day soul, even the Memphis variety.\n\nBut, if they're 
EXTD=a noisy young street gang they're gang with a very evident sense 
EXTD=of moral purpose (like the Mothers). Almost all their songs on St
EXTD=and!, which includes their hit single, "Everyday People," are ope
EXTD=nly idealistic, telling of things as they should be, dealing with
EXTD= vast social problems in abstract terms, which is not usually wit
EXTD=hin the scope of soul music. Stand! is not, however, simply a pol
EXTD=emic. It's also extremely vital body music. It really can't be li
EXTD=stened to a low volume and communicate. Stand! depends on sheer e
EXTD=nergy more than anything else.\n\nThe most powerful instrument in
EXTD= the sound is usually the bass, which is incessant and repetitive
EXTD=. And, in fact, the most bothersome thing about this album, at fi
EXTD=rst, was its insistent, almost defiant, repetition. But, it was b
EXTD=other-some simply because I sat there trying to figure it out; on
EXTD=ce I stood up (like the title says) it was fine. It's not a conte
EXTD=mplative piece.\n\nThere's one long instrumental cut included, ca
EXTD=lled "Sex Machine," that's really different. Except for the numbe
EXTD=r of instruments used, it's pretty close to Jimi Hendrix's stuff.
EXTD= They use a single heavy bass line and pile up a lot of slurpy, b
EXTD=uzzy, electronic sounds including the strange sound of Sly scatti
EXTD=ng into a microphone that its hooked up to a wah-wah pedal, and f
EXTD=or a unit that isn't primarily an instrumental group, they come o
EXTD=ut with one of the most listenable hard rock instrumentals I've h
EXTD=eard in quite a while.\n\nOne of the other cuts that really stood
EXTD= out is pointedly titled, "Don't Call Me Nigger, Whitey." It's ju
EXTD=st that phrase and the converse, "Don't call me whitey, nigger," 
EXTD=repeated endlessly in voices that sound like a black David Sevill
EXTD=e and the Chipmunks. It's done in a taunting, almost snotty tone 
EXTD=of voice and irritated the hell out of me until I realized that i
EXTD=t was intended to do just that. It works. You get the message.\n\n
EXTD=And, that, perhaps, sums up Stand! It's effective. You can critic
EXTD=ize each or any particular point regarding the music or the conte
EXTD=nt of the message, but in toto, it works. Stand! is not an album 
EXTD=for someone who demands perfection or sophistication, although it
EXTD='s by no means crude--just basic. It's for anyone who can groove 
EXTD=on a bunch of very raucous kids charging through a record, tellin
EXTD=g you exactly what they think whether you want to hear it that wa
EXTD=y or not. If you don't mind being pushed a little, then Stand! wi
EXTD=ll move you. (RS 38 -- Jul 26, 1969)  -- ALEC DUBRO
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