Sly and the Family Stone weren’t just a band; they were a cultural phenomenon. Emerging in the late 1960s, they shattered musical boundaries and societal expectations with their electrifying fusion of funk, soul, rock, and psychedelia. While their entire discography is a testament to their innovative spirit, it was the infectious energy of “Dance to the Music” by Sly and the Family Stone that catapulted them into the mainstream and cemented their place in music history.
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Before the world could Dance To The Music Sly And The Family Stone were crafting, they were a band finding their feet, both musically and commercially. Born out of the vibrant San Francisco music scene, Sly Stone, the visionary bandleader, assembled a groundbreaking ensemble. This wasn’t just groundbreaking for its sound, but also for its composition: Black and white, male and female musicians sharing the stage in a time of stark racial division.
The members, each seasoned musicians in their own right, brought diverse experiences to the collective. Jerry Martini, the saxophonist, had tasted the almost-big-time with George and Teddy and the Condors. Greg Errico, the drummer, honed his skills with Freddie Stone’s earlier group, Freddie and the Stone Souls. Cynthia Robinson, the trumpet player, had a background in backing blues and R&B legends. Larry Graham’s innovative slap bass technique and Freddie Stone’s guitar prowess were also pivotal ingredients. Sly himself was already a known quantity in the Bay Area music scene, a DJ and producer with a vision to blend diverse musical styles.
Sly and the Family Stone performing live, showcasing their diverse lineup and energetic stage presence.
Sly’s ambition was to create music that transcended racial barriers, appealing to the burgeoning counterculture while staying true to his R&B roots. He famously declared, “there ain’t no Black and there ain’t no white,” aiming to create a sound as innovative as The Beatles, as lyrical as Dylan, and as funky as James Brown. Early influences included acts like The Valentinos and The Chambers Brothers, who were also experimenting with crossing genre lines. The 5th Dimension, with their vocal harmonies and sunshine pop sensibilities, were another acknowledged inspiration. However, Sly and the Family Stone aimed for something bigger, a truly integrated sound and band that embodied their message of unity.
Initially, their live shows were a melting pot of covers, showcasing each member’s individual talents. From Ray Charles to Otis Redding and Junior Walker, their sets were designed to be a non-stop party, a showcase of their collective musicianship. They played at venues like the Winchester Cathedral, quickly gaining a local following and starting to weave original songs into their sets. “I Ain’t Got Nobody (For Real)” was an early original that demonstrated the band’s collaborative spirit, transforming Sly’s initial demo into something uniquely their own.
Enter David Kapralik, a record executive with a history of both conventional and unconventional moves. He recognized Sly’s genius and quickly signed the band, leading to a residency in Las Vegas at the Pussycat A-Go-Go. There, they became a must-see act, drawing in other musical luminaries like James Brown and Bobby Darin. However, their Vegas stint was cut short due to racial tensions, highlighting the very issues Sly’s music sought to address.
Despite the Vegas drama, Kapralik secured a deal for Sly and the Family Stone with Epic Records, under Clive Davis’s leadership. Davis, embracing the burgeoning rock scene, was eager to sign San Francisco bands. The band’s debut album, A Whole New Thing, emerged, showcasing their musicianship and Sly’s songwriting prowess. Tracks like “Underdog” were musically ambitious and resonated with fellow musicians, earning fans like Mose Allison and George Clinton. Yet, commercially, the album faltered. Critics, like Rolling Stone, while acknowledging their innovation, found the album lacking standout tracks, missing the point of their groundbreaking live energy and organic sound.
CBS, however, remained convinced of the band’s potential. After a stint in New York at the Electric Circus, and with the addition of Rose Stone on keyboards and vocals, completing the classic lineup, the pressure mounted for a hit. Davis and Kapralik urged Sly to create something relatable, something people could dance to the music. They needed a pop song, a single.
And Sly delivered. He unleashed “Dance to the Music”.
This track, while perceived by some band members like Jerry Martini as a compromise of their artistic vision, became their breakthrough. Martini felt Sly created it almost begrudgingly, a “formula style” aimed purely at selling records. However, while commercially oriented, “Dance to the Music” was far from formulaic. It was a stroke of genius, distilling the band’s live energy and unique sound into a three-minute explosion of pure joy.
The song’s structure was ingenious in its simplicity. It built gradually, introducing each instrument one by one, mirroring their live show introductions. The “Ride, Sally, ride” line nodded to “Mustang Sally,” and the structure echoed King Curtis’ “Memphis Soul Stew.” Even the now-iconic “boom boom boom” vocals originated from a lyrical mishap onstage, turned into a spontaneous band harmony and then a signature hook.
A happy accident further shaped the song’s unique sound. Jerry Martini, attending an overdubbing session without his saxophone, brought a clarinet instead for portability. Sly, hearing Martini noodling in the back room, decided to incorporate the clarinet into the track. This unexpected addition became a defining feature, making “Dance to the Music” perhaps the first soul hit to feature the clarinet as a lead instrument.
Released in spring 1968, “Dance to the Music” became a top ten hit. Its impact was immediate and far-reaching. Otis Williams of The Temptations recognized the fresh sound, influencing Norman Whitfield to steer The Temptations towards a psychedelic soul direction, resulting in hits like “Cloud Nine.” Psychedelic soul, pioneered by Sly and the Family Stone with tracks like “Dance to the Music”, was becoming the dominant sound of Black music.
Their second album, aptly titled Dance to the Music, capitalized on the single’s success. It was a more focused collection of dance-oriented tracks, including “Ride the Rhythm” and the medley “Dance to the Medley.” It also featured “Higher,” a reworked version of Sly’s earlier song “Advice.” Despite the hit single and album’s cohesive nature, Dance to the Music album, surprisingly, didn’t achieve massive commercial success initially, peaking at number 142 on the pop charts. However, the song “Dance to the Music” itself was a cultural force, even inspiring a French-language novelty version by “The French Fries.”
The band’s dynamic began to shift during this period. A pivotal performance supporting Jimi Hendrix at the Fillmore East marked a turning point. According to Kapralik, Sly began to centralize the performance, diminishing the individual solos that had been a hallmark of their earlier shows. While not a complete shift, it signaled Sly’s growing dominance as the focal point.
The Fillmore East gig was a triumph, but it also marked the beginning of darker changes. Jerry Martini witnessed Freddie Stone using cocaine for the first time after this performance. New York became a turning point, as cocaine entered the band’s world, foreshadowing the challenges that lay ahead.
“Dance to the Music” by Sly and the Family Stone remains an iconic anthem of joy, unity, and the power of music to break down barriers. It’s a vibrant snapshot of a band at their peak, a moment before the complexities of fame and personal struggles began to overshadow their incredible musical achievements. It’s a reminder why, even decades later, the invitation to dance to the music Sly and the Family Stone created is still irresistible.
