Thank You - A Memoir - Sly Stone

 

Of course, I've been a huge fan of Sly and the Family Stone's brand of funk'n'roll since they started having hits back in the 60's. Their cuts sounded especially good over the PA at the local swimming pool in the summertime (hot fun!). Of course, seeing the band in the Woodstock movie clinched it - they were an amazing live act - wish I could have seen them in person, but I never got the chance.

Here, Sly (Sylvester Stewart) tells his tale with the help of Ben Greenman - it reads as if Sly is talking - with his hip, jive talkin' manner - and Ben simply organized everything, which is a fine way of doing it, actually. There is some of the usual familial background, but not overdoing it and Sly grows up surrounded by music and learns from his family as well as some theory in school. As with most musically inclined teenagers, he started his own bands and always kept a lookout for local talent and kept the interesting peeps in mind for the future. After a stint as a DJ (helping to hone his persona, lyrics and on-stage raps), a record producer (the Beau Brummels were a huge hit of his, as well as others who would only later became stars), and a recording artist in his own right (nothing came of it), he put together what would become the Family Stone.

After a bit of a slow start, the hits started coming fast'n'furious, and the band's schedule then sped up, as well, which caused a need for speed within the group - and Sly was not one to turn down a bit of mood enhancers. While the party seemed to get pretty crazy pretty quickly, Sly and the band was also able to keep the hits flowing - for a while. He admits to missing gigs and running late a lot but does try to make excuses, although they are not very convincing, especially as he talks about how big a part the drugs are playing by this point. 

The story starts to get a bit depressing here - the drugs, the excuses, the more-than-erratic behavior, the missed gigs, the lack of respect for others, the incoherent interviews. But, at the same time, Sly was in a happy relationship, expecting a child and planning a wedding at Madison Square Garden! It's a mixed bag for sure, and you can't argue with tunes like "Family Affair" (although There's a Riot Going On is a bit meandering) and "If You Want Me To Stay", but everything was becoming a bit wobbly, to say the least.

The post-stardom portion of the book is, unfortunately, the longest, as he goes into lots of trials, taxes, repossessions, violence, and more - and, of course, drugs'n'drugs'n'drugs. He had chances to get clean, but didn't have the desire and continually f'k'd up his own life. But he kept trying to work and he does mention doing some recording at the same studio that I was working at at this time - Silvery Moon with our pal, Gary Stern - which, unfortunately, he was busted at. He also mentions shows set up at the Las Palmas Theater in Hollywood - a place that I had played - that I considered going to, but, again, he was busted after one half-assed gig.

He continually received breaks'n'funds'n'chances galore - far more than he probably deserved at this point - and would be put up in apartments and given allowances but would just flush it all down the tube with drugs. He was not loyal to women in any way, shape or form, and it seems that he still does not believe that his disrespect was a problem in any way. He does not do himself any favors in his telling, in fact, he comes off as quite the ass, from personal relationships to disrespecting fans and promoters (and even his own band) who took chances on him (his story about "playing" Coachella is cringe-worthy).

Glad to have read it and good to hear the man's own point of view on how things went down and how he's survived, but it is not a fun story, unfortunately. But, the music that he made is still a treat!

Sly and the Family Stone – Dance to the Music

This 1967 sophomore effort by the Family Stone may not be as completely consistent as some of their later works, but this is still an extremely strong album showing their unique and eclectic mix of funk, pop, rock, psychedelia and many, many other wonderful musical styles.

The sheer exuberance of the title track alone would be enough to solidify Sly’s r’n’r legacy even if he had never recorded the many incredible tracks that came after this. There is no way to sit still or to not have a smile on your face while you listen to this masterpiece of high energy funk. Infectious and supremely fun, this was a perfect summer hit and appears here in its original album version and the hit single take, as well.

“Higher” is the template for the future smash “I Want to Take You Higher” and is gloriously gospel influenced though it is still lacking the special magic of the later tune. As a possible homage to both Frank Zappa and Santana, Sly writes his own “I Ain’t Got Nobody (For Real)”. Throughout the record there is an immense amalgamation of influences, which is logical considering that the band grew out of the San Francisco scene, with bands as diverse as the aforementioned Santana, the Grateful Dead, Jefferson Airplane dominating the city. Not to mention the fact that Sly had already produced hit singles for such pop bands as the Beau Brummels and the Mojo Men.

“Dance to the Medley” will be known to anyone who ever saw the Woodstock movie, as the “Music Lover” segment was featured to great effect in Sly’s spectacular sequence in that flick.

The rest of the tunes show the band’s versatility and originality in fashioning Sly’s songs into creative and danceable stories that just about everyone in the nation (and the world) could relate to. I can't say enough good about the players here, from the guitar that easily moves from funk to acid rock, to the magnificent rhythm section to the cool horn accents.There are many clever self-referencing pieces throughout the record, but it almost makes this a concept record, in a weird way.

The bonus tracks are stellar, from the “Dance to the Music” steals in “Soul Clappin’” to the sublime “We Love All” (which I had never heard before and yet is certainly one of their best tracks ever) to their very different, and amazing, almost frenetic doo-wop/scat version of Redding’s “ I Can’t Turn You Loose”.

The uninitiated should probably start with the fabulous greatest hits 2 CD set that I raved about before, but this is an excellent record, through and through.

Tiki Oasis Saturday August 20, 2016

Got up early enough on Saturday to do some shopping with the many, many vendors - indoors and out - and got a few items before the morning poolside show started with Italian surf cats, the Bradipos IV. They are a talented surf instrumental quartet who were joined by a female singer (never found out her name) who added a dash of rockabilly'n'garage to their show. Her raw, rockin' voice took 'em through "Funnel of Love", "Baby PLease Don't Go", and quite a few others - they pretty much did a second set as the Bradipos V! Really fun!

Think we had a quick lunch break then over to the car show to catch Boss Fink. With members from the Ghastly Ones, the Cormans and the Huntington Cads, the rock the Big Daddy Roth swag, from matching shirts to Rat Fink German helmets. The bassist was highly animated as they blasted through twin-guitar surf, culminating in Davey Allen's "Blue's Theme".

Back at the main stage for the Mission Creeps, from Tucson, AZ, opening up the evening's festivities. Aided and abetted by Rikki Styxx (The Two Tens) and Dusty Watson (the Sonics) on additional drums and percussion, the band consists of drummer George Palenzuela, guitarist James Arr and bassist Miss Frankie Stein. They had a thunderous low end (loved Stein's raucous bass tone mixing with the percussiveness), wild theremin swirls, swingin' guitar lines (from some wacked-out guitar) and some goddam great songs! I screwed up by not picking up any of their CDs, but will certainly be on the prowl for them. There was also plenty of eccentric theatrics - costumes, masks, go-go dancers, etc. - but it all just enhanced the music rather than replacing it. Cool cover of "Paint It, Black", as well! Definitely another fave of the weekend!

San Diego's own "scariest band in the world", Deadbolt, put up their caution tape, pulled out their Aqua Net hair spray, and revved up their twin bass, "wall of thunder" surf attack. Led by guitarist/singer/karate expert Harley Davidson and long time bassist 3rd Degree Burns the band now has a second bassist whose name I didn't catch and drummer Max (sorry, don't know his stage name) from Vooduo, Lords of Altamont and innumerable other groups. They handled snakes, broke boards with fists and heads, hair-sprayed their pompadours and frightened the crowd with songs from their decades-long career. They wanted to just keep going, but were cut by the TO's stage manager, who kept a timer running off to the side of the stage! The crowd wanted more but it was time to move on to...

The Lampshades - a comedy duo starring Kate Flannery (from The Office TV show) and Scot Robinson (Anchorman), who sang songs and did goofy comedy skits to backing tracks. People loved them, but I thought they were a bit much, myself...

Back to the live rock'n'roll with the masked men in the Creepy Creeps - a trashy sax'n'keys garage combo that tore up the stage with their sweaty antics. The lead singer's keyboard was enclosed in a coffin that he wrestled'n'wrangled and stood on during the set. Very energetic stage shenanigans backing the punk rock/garage noise and insulting songs, goofy lyrics, a frantic cover of "Do You Wanna Dance", some instro work, cool sax playing and a rave up with a Planet of the Apes-themed song!

Headlining Saturday night were the mighty Sonics, although now they are down to one original member - sax/harmonica man Rob - though still with great bassist/singer Freddie Dennis, drummer Dusty Watson, and now with Jake Cavaliere replacing Gerry Rosalie and Evan Foster doing his best to fill Larry Parypa's shoes. Unfortunately, without Larry and Gerry some of the magic is gone, as talented as Jake and Evan are, but the band still gives a vicious bite to the prototypical garage songs like "He's Waiting", "Strychnine", "Boss Hoss", "Cinderella", "Money" and lots more, including their first ever song, "The Witch". Jake got to sing lead on one - maybe one of his own? - and played fine organ and electric piano throughout. Rob was blowing great, Freddie's singing is top-notch, Dusty is a monster, though Evan lacked Larry's tone and bite on guitar. Not the same, but still a great time.

Up to San Diego's Casbah room for an over-flowing rock'n'soul party with the Schizophonics Soul Revue! The Schizophonics were definitely a highlight of last year's festivities and this time out singer Pat put down his guitar so he could concentrate on his James Brown moves, while drummer Lety pounded out the primitive beat along with 2 guitars, bass, 2 horns and backing vocals from Birdy (the Rosalyns) and the fabulous El Vez! This combo put on a soul-filled SHOW with James Brown/Sly and the Family Stone tunes, "House Party", and so much more that is all becomes a blur. Every member was a terrific musician and showman and the shoulder-to-shoulder congregation did its best to dance in the miniscule space allotted. For "Please, Please Me", Pat and El Vez did the James Brown skit with Pat being walked off the "stage" only to return as a gyrating shrieker agan and again - appropriate because it seemed like he gave every ounce in the first set, but returned refreshed and did it all again once more! It really doesn't get any better than this!

The Romantics, Berlin, Joan Jett and the Blackhearts - Junefest at Sunset Junction

The talent that appears at local classic rack stations KKLZ's Junefest varies wildly, from stuff that I couldn't care about, like Loverboy, to a true r'r' legend, like Joan Jett! Once I heard that she was headlining, along with Detroit garage-pop hit-makers, the Romantics, I made sure that I would be there!

Opening the day was former Babys' lead singer, John Waite, who we missed, because we aren't fans, but we were surprised to find out that the Romantics, the band with one of the most recognizable songs of all time, that is played everywhere, every minute of the day, was second on the bill. But, while looking a bit older and heavier (aren't we all?), and rhythm guitarist/harmonica-player Wally Palmar's voice was a little ragged, they were stylish, flashy (especially "new" drummer Brad Elvis, who was constantly entertaining with his antics - throwing his sticks, balancing them on his hands, twirling and plenty of other visual wackiness) and kicked out some hot garage pop masterpieces.

Along with Palmar and Elvis, original bassist Rich Cole and lead guitarist/vocalist Mike Skill make up the current line-up. Skill's playing is as raw'n'trashy (in a good way!) as any 80's garage player, and they use nicely appropriate equipment like Rickenbacker, Telecaster, and Vox to get their sound. They have kept active over the years, so there were some songs that I didn't know, but they pulled out the big hits like "Tell it to Carrie" and "Talking in Your Sleep", cool covers like the Kinks' "She's Got Everything" and the Animals' "We Gotta Get Outta This Place" and, of course, closed with "What I Like About You", which got everyone up and singing along. Interesting that Palmar and Skill traded lead vocals on that song, which I never noticed before. Really great set, though I missed their cover of Richard & the Young Lions' "Open Up Your Door".

I never really cared much about Berlin, even in their days as a local LA band - their keyboard-laden new wave just never resonated with me, and still doesn't, to be truthful. Terri Nunn is in great shape, physically and vocally, and does her best to connect with the audience, walking into the crowd on at least a couple of instances (including standing on the chairs right in front of us while we were stuffing our faces with food that took us an hour or more to get - so, no pix of that!) and bringing peple up on stage to dance along with them. Cool cover of Jefferson Airplane's "Somebody to Love", though!

It seemed to take an excessively long time for Joan to make her appearance, but once she did, she made it worth everyone's while! Walking out to Booker T & the MG's "Chinese Checkers" (she has great taste in music!), the Blackhearts blasted through "Bad Reputation" (great opener!), "Cherry Bomb" and "Do You Wanna Touch" before moving on to some new songs from her latest CD, Unvarnished. Of course, the crowd wanted the hits, but the new tunes were all solid Joan rockers - glam/punk with melody and style - and short enough to not challenge to the people too much!

Jett looked pretty damn amazing in a glitter jumpsuit and played solid guitar (her traditional Melody Maker through what looked like a Music Man head over a Vox amp - sounded terrific) - even trading off licks with her lead man and doing some nice harmony leads together. On keys was her long-time producer/co-songwriter Kenny Laguna, which added to the numbers, while the rhythm section remained solid, powerful and relatively unobtrusive, and guitarist Dougie Needles jumped around and threw his guitar about as he played. Vocals were superb all around - Joan always is in good voice and the backing vocals were as big as on the records.

There was a nice surprise as she pulled out another Runaways number, "You Drive Me Wild", then something from an 80's movie ("Light of Day") that I didn't recognize, several more new ones (including one about having a menage a trois with Joan) and then the monster hit, "I Love Rock'n'Roll" - another big audience singalong. Surprisingly, that was not the closer, and she ended the set with "Crimson and Clover" into "I Hate Myself For Loving You". The crowd wouldn't let her go just yet and she came back with "Wild Child" and then broke up a fight in front before finishing for the night with a cover of Sly and the Family Stone's "Everyday People".

Joan is a rare one who can play "nostalgia" nights like these while still remaining relevant and vibrant with solid new music, as well. Saw her a few years back and she continues to do solid, professional and exciting rock''roll shows. See her - well worth it!

Sly and the Family Stone - the Essential Sly and the Family Stone

You would have to have been stranded on a desert island for the last 4 decades or so to not be familiar with this incredible, ground-breaking band. This multi-racial, multi-gender group merged rock, soul and r’n’b into a fantastic, danceable stew that forces you to groove along with them.

Sylvester Stewart was a San Francisco-area DJ and record producer who worked with hit bands such as the Beau Brummels before deciding to shake things up by putting together this assemblage. The first album, the aptly titled A Whole New Thing, was widely ignored, but this changed dramatically with the release of the 2nd record, Dance to the Music. The title song started a huge string of hits that rivals just about any other performer.

Sly’s classic albums have now been reissued with bonus tracks and excellent packaging, but I went the economical route and got this 2 CD compilation. Every album is well worth the price, but this is a super selection of his best tunes and is a perfect starting place for the novice or for those who simply want a CD to take with them while leaving their vinyl at home!

Check out Sly's official web site and My Space page

Jimi and Sly - The Skin I'm In

This is another documentary that we discovered on Kanopy's streaming service and, being big fans of both men, we had to check it out.

This is pretty low-budget overall and the producers seemed to think that tacking on Jimi would add interest to the Sly Stone doc, as there is very little on Jimi and what there is is pretty basic stuff. I understand that Jimi and Sly were two Blacks who made a big impression on white music, but I think that Sly could have stood on his own.

In any case, I totally dug the section on Sly and while there wasn't a lot of new info, there were a good amount of old stills, some excellent live performances (although the video quality looked like a transfer from someone's VHS tape!) and interviews with members of the Family Stone. Sly only appears via older TV interviews, but his story - minus some of the more salacious details - is told overall and the Family Stone characters are all still charismatic and enthusiastic for the music that they made.

I wouldn't suggest buying this, but if this appears on any streaming service of yours, it is a cool watch.

Harvey Scales and the Seven Sounds - Love-Itis

 I cannot even imagine how many original records the J. Geils Band has sold for the bands that they have covered, but this is another one for me! Known for their amazing choice of cover songs, the Geils Band has made people aware of so many incredible acts (here's a list of their covers) and I am always grateful to discover another new-to-me act! 

I had no idea that Love-Itis" was even a cover up until a week or so ago, when I found out that besides the original and the Geils version, even the fabulous Sonics have recorded it! For Harvey Scales, it was simply the B-side of the Seven Sounds biggest number, "Get Down", which reached number 32 in 1967 (these two songs are, appropriately, the first two on the comp). This CD shows that he had plenty of other great material, as well, with sweet, soulful ballads mixed with upbeat funk and sweaty dance numbers.

"Get Down" is a super-fun, soulful, funky dance number with excellent machine gun drum breaks - just try keepin' still while this plays! - followed by the title track, which is somewhat slower and more groovin' that the Geils version, kinda hintin' more at Otis Redding, especially in the horns - certainly nothing wrong with that! Pure upbeat James Brown-styled funk in "Broadway Freeze", the drums really drive "I Can't Cry No More", making it a defiant call rather than a weeper, "Too Good To Be True" is kind of a Jr. Walker swinger, there's some hints of gospel in "Love Is a Gas", they finally slow things down for a sweet ballad in "Don't You Ever Let It End", back to the bouncin' beat for the Booker T and the MG's-ish instro "The Sound of Soul", "Welcome Home" is a slower, sad soul ballad (sort of a "Have You Seen Her" feel that somehow morphs into upbeat funk for the last few bars as the woman finally comes back) and "Trackdown" is  another steady groover.

In the dance craze number, "The Yolk" (odd concept, yes), Harvey borrows a bit from Sly and the Family Stone as well as James Brown, which naturally continues in "The Funky Yolk", which has some fine sax wailin' and sex-beat rhythms. "Get Down 1970" is pure high-energy, danceable funk, this continues in the kinda goofy "Funky Football", "Bump Your Thang" is a bit silly, as well, but good fun, "Trying to Survive" is somewhat more message-based (it is aptly compared to Marvin Gaye's "What's Going On" in the liners) with a hep groove, "Groove On Sexy Lady" is, naturally, more lighthearted, "Rock the World" isn't quite as captivating but still pretty darn cool, "Follow the Disco Crowd" is too disco-oriented for my taste, but the finale, "Love Thief" brings back enough funk to make it a keeper.

Harvey had a terrific voice and the band was stellar, with the horn section and the drums really driving the songs. They kinda became known for songs describing a dance craze, which limited the lyrical content, but regardless, the sound generally kept a fine, soulful, deep funk to it all. Nice stuff!

The Sensational Alex Harvey Band Live at the BBC

I believe that I first encountered the SAHB via a new wave/rock'n'roll cover band in Indiana that did the fantastic "Midnight Moses". This cut stood out among their other cool 60's and 70's numbers, even though I didn't know what it was until I asked them. I know that Creem magazine hyped the band a bit, but they were never very popular in the States and so their albums were not easily accessible. I did finally find a greatest hits package and that was all that I owned for the longest time. I am still catching up on their records even today, but I found this 2-CD set for a reasonable price and it is certainly a keeper!

Here the group first performs numbers from their debut album, which had been released a short time before. Although Alex had been a performer for a number of years, he didn't really hit the spotlight until this combo with their mix of hard-rock energy and visual theatrics. The drive'n'spirit of the new group blasts through the airwaves here.

The afore-mentioned "Midnight Moses" starts things off with its ferocious riff-rock'n'roll - really one of their best and most memorable numbers, and here Alex is shouting out the opening "heys" with a raw roar, demanding the audience's attention. Not stopping for a breath, "St. Anthony" is another high-energy wah-wah riffer, with cool interaction between clown-faced Zal's guitar and Hugh's electric piano and a dynamic breakdown that's a bit different than the studio take. Their version of "Framed" is even more slow'n'deliberate and I'm sure there was some theatrics going on here. They follow this with the whimsical/vaudeville-like (and odd) "There's No Lights On the Christmas Tree Mother, They're Burning Big Louie". "Hole In Her Stocking" is a cool 50's-styled blues-rocker with some lively keyboard work and a surprising cover of Sly & the Family Stone's "Dance to the Music" where Alex makes the title a vicious demand, rather than a fun invitation. Really dig this - they make it their rockin' own while keeping a bit of the original feel, and everyone gets to shine in the solo section.

"Faith Healer" is increasingly dramatic as the opener to their 1973 set, where they are a more seasoned combo - although the previous material was far from lacking! Again, they change things up a bit in the live setting and it is all well-done and rockin' and the instruments all work together to build in intensity as Alex adds different lyrics and a vivid'n'fierce vocal performance. We get another "Midnight Moses" - still terrific and, if anything, more fervent than before - and a swingin', very politically-incorrect "Gang Bang", still one of my faves. I was not familiar with "The Last of the Teenage Idols", which starts off as kind of a piano ballad, adds an heavy, ominous pounding section and then takes off in high-speed to become a frantic rocker, before ending as a doo-wop number! Freddy Bell's "Giddy Up a Ding Dong" is the unusual ending to CD1 - a 50's rock'n'roller that also becomes a doo-wop tune!

CD 2 continues in 1973 with a couple of Old Grey Whistle Test appearances, Jacque Brel's "Next", a melodramatic bit of stagecraft, and an abbreviated "Faith Healer" - both studio backing tracks with live vocals from Alex. I had never heard the slow, quiet "Give My Compliments to the Chef" before, either, but, like the others, it does build a bit, it remains a nice smoulderer until about half way through, when they do let loose as a fast-paced, electric piano-driven number. I always thought that their version of "Delilah" was a bit corny, though it is a bit more intense here, and, also new to me, "Boston Tea Party" isn't particularly memorable. The final two tracks are also from the OGWT, now in 1977, and are without Harvey, who was having health issues at this time - "Pick It UP and Kick It" and "Smouldering".

I still want to explore more from this wacky group, but this is a strong one to pick up.

Black Joe Lewis - Electric Slave

I know how hard it is to keep putting out quality material and many incredible bands have had pitfalls after a debut that grabs people's attention, but this, Black Joe Lewis' third album, sounds even better than the first two! This adds more raw, punk'n'roll power to this electrifying soul dynamo to create a wild-edged masterstroke that builds on their earlier work (apparently, this is still the Honey Bears, though the name isn't on the CD) and takes it to the next rockin' level.

Electric Slave opens with a heavy, heavy, fuzzed-out garage punker, appropriately titled "Skulldiggin'", that includes some fine piano poundin' along with an incredibly nasty guitar solo! This is an amazing blend of bands like Thee Hypnotics, the Velvet Underground and the Stooges, but somehow keeping a bit of Lewis' soul identity in the mix (though that aspect is a bit buried here). Their "Young Girls" is a frantic romp in an early r'n'r/r'n'b groove, but with a punk pace making ya want to flail about uncontrollably!

I had to look this up, but "Dar es Salaam" is a city in Tanzania and literally means "the abode of peace". Not sure what Joe is singing about here, but the sound is more traditional Honey Bears territory - more soul/r'n'b and less raw power, but no less great, with a superb horn section augmenting the proceedings and the distorted guitar just a little more buried. Another cool mash-up of styles is "My Blood Ain't Runnin' Right" which has some Sly and the Family Stone touches with some melodies reminiscent of the Saints, when they used horns. Sounds odd, but as they make this their own, they build it into a wildly intense monster.

The sax in "Guilty" wails like McKay in Funhouse or Rudi Thompson from X-Ray Spex, with equivalent power from the rest of the band, while "Come to My Party" is a bit more traditional funk/soul and a groovin' dance number. They finally slow things down for the sultry "Vampire", with a feel not unlike "Fever" until it speeds into an out-of-control rave-up in which the drummer seems to be challenging the rest to keep up! "Make Dat Money" is a bit of a mid-tempo soul/blues riffer with some cool horn dynamics while "The Hipster" is these cats updating "Everybody Needs Somebody to Love" and there ain't nothing wrong with that kind of high energy r'n'b! More rockin' funk in "Golem" and the whole she-bang closes with the maximum punk'n'soul of "Mammas Queen".

I love the first two Black Joe Lewis records, but I swear that this one surpasses them both! Great job!

I Want to Take You Higher - Jeff Kaliss

This book is a nice overview of Sylvester Stewart's career and Sly and the Family Stone's history, right up until Kaliss' most recent interview with Sly in February of 2008.

Jeff moves fairly quickly through Sly's upbringing, musical growth, band inception and the recording path of the group. I think that there could have been a lot more detail throughout, but this is an easy read, giving fans a general outline of the life of this extremely talented man, moving from his days as a producer right through to the current times as a relative recluse who occasionally works with some ex-band members.

It is good to know that despite many f'k-ups in his life, he still has the money to live a good life and still make music when he so desires. Many of his colleagues of the time were far from as fortunate.

I would like to know more of his days as a producer and even of the Family Stone's recordings, but this is a fine summary of his life.