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It's the perfect mix of aggressive social rights and inclusive funky music. The Electric Lady is another but isn't quite so rough around the edges.
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RisingTides wrote:
There is more kindness on the internet than we would care to admit to ourselves. Sometimes we are so afraid of falling victim to a ruse, we miss out on actual opportunities.
There is more kindness on the internet than we would care to admit to ourselves. Sometimes we are so afraid of falling victim to a ruse, we miss out on actual opportunities.
It's so amazing how they experimented with ambient sounds and atonality, even in 1968. The sections of the song "Dynamite!" for example don't go together in a predictable / logical way; that's got to have influenced hiphop's use of chords, basslines and samples that don't "fit". It just makes for an overall messier sound than I'm used to associating with the era. The later Temptations stuff does the same thing, manages to add a roughness to the somewhat clean pop sound that Motown began in.
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RisingTides wrote:
There is more kindness on the internet than we would care to admit to ourselves. Sometimes we are so afraid of falling victim to a ruse, we miss out on actual opportunities.
The Rockefeller guitar on "Harmony" is so cool. I love the way this band mashes styles together. And then the circus trombone on "Life." Wow.
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RisingTides wrote:
There is more kindness on the internet than we would care to admit to ourselves. Sometimes we are so afraid of falling victim to a ruse, we miss out on actual opportunities.
Joined: Wed January 02, 2013 7:12 am Posts: 1643 Location: The Jungle
the Woodstock version of "I Wanna Take You Higher" and this version of James Browns "There Was A Time" are easily my 2 favorite live funk/RnB tracks ever... just such great riffs, horns, grooves...
I could listen to them over and over (and have on a few occasions like today)
It says it's from Live at the Apollo, but which volume is it on? I only have the first, and don't see it listed on the other ones.
harmless wrote:
It's so amazing how they experimented with ambient sounds and atonality, even in 1968. The sections of the song "Dynamite!" for example don't go together in a predictable / logical way; that's got to have influenced hiphop's use of chords, basslines and samples that don't "fit". It just makes for an overall messier sound than I'm used to associating with the era. The later Temptations stuff does the same thing, manages to add a roughness to the somewhat clean pop sound that Motown began in.
They get virtually no respect from the mainstream music fan, but their influence is EVERYWHERE over the last 45 years of music. It's like that quote on their wikipedia page from that book about them says, "there are two types of black music: black music before Sly Stone, and black music after Sly Stone."
When you compare the stuff with what else was going on at the time, they were so far ahead of everybody else. You could argue they were the biggest reason Motown's sound developed and morphed into what it became despite not even being on the label, because artists like the Temptations, Stevie Wonder, and Marvin Gaye all of the sudden had to scramble to catch up with Sly. Dude was a fucking musical genius of the highest level (in terms of popular music).
It says it's from Live at the Apollo, but which volume is it on? I only have the first, and don't see it listed on the other ones.
harmless wrote:
It's so amazing how they experimented with ambient sounds and atonality, even in 1968. The sections of the song "Dynamite!" for example don't go together in a predictable / logical way; that's got to have influenced hiphop's use of chords, basslines and samples that don't "fit". It just makes for an overall messier sound than I'm used to associating with the era. The later Temptations stuff does the same thing, manages to add a roughness to the somewhat clean pop sound that Motown began in.
They get virtually no respect from the mainstream music fan, but their influence is EVERYWHERE over the last 45 years of music. It's like that quote on their wikipedia page from that book about them says, "there are two types of black music: black music before Sly Stone, and black music after Sly Stone."
When you compare the stuff with what else was going on at the time, they were so far ahead of everybody else. You could argue they were the biggest reason Motown's sound developed and morphed into what it became despite not even being on the label, because artists like the Temptations, Stevie Wonder, and Marvin Gaye all of the sudden had to scramble to catch up with Sly. Dude was a fucking musical genius of the highest level (in terms of popular music).
_________________
RisingTides wrote:
There is more kindness on the internet than we would care to admit to ourselves. Sometimes we are so afraid of falling victim to a ruse, we miss out on actual opportunities.
There's A Riot Goin' On is such a trippy, weird, dark set of slow jams. Gotta wonder whether PJ had it in mind when they made the "non-songs" on Vitalogy.
_________________
RisingTides wrote:
There is more kindness on the internet than we would care to admit to ourselves. Sometimes we are so afraid of falling victim to a ruse, we miss out on actual opportunities.
There is more kindness on the internet than we would care to admit to ourselves. Sometimes we are so afraid of falling victim to a ruse, we miss out on actual opportunities.
I wonder if Sly fans were disappointed that the word "Riot" was in the title and it wasn't an aggressive, fast, rock album.
This is SO EXACTLY what I was thinking.
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RisingTides wrote:
There is more kindness on the internet than we would care to admit to ourselves. Sometimes we are so afraid of falling victim to a ruse, we miss out on actual opportunities.
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Gotta wonder whether PJ had it in mind when they made the "non-songs" on Vitalogy.