Sly and the Family Stone weren’t just a band; they were a cultural explosion. Bursting onto the late 1960s music scene, they defied genre boundaries and racial divides, creating a sound as vibrant and revolutionary as the era itself. While their catalog is rich with iconic tracks like “Everyday People” and “Family Affair,” it’s impossible to discuss their groundbreaking impact without highlighting the infectious energy of “Dance to the Music.” This wasn’t just a song; it was an invitation, a call to unity, and a sonic blueprint for funk and psychedelic soul that continues to resonate today.
Sly and the Family Stone
This exploration delves into the story behind Sly and the Family Stone, tracing their journey to the creation of “Dance to the Music,” a track that not only became their breakthrough hit but also redefined the landscape of popular music. We’ll unpack the song’s infectious groove, its innovative structure, and its enduring legacy, understanding why it remains a timeless anthem for getting up and dancing.
From San Francisco Bay to a Whole New Thing
To truly appreciate the significance of “Dance to the Music,” it’s crucial to understand the unique melting pot that was Sly and the Family Stone. Led by the visionary Sly Stone (born Sylvester Stewart), the band was a deliberate mix of races and genders, a rarity in the segregated music scene of the 1960s. This wasn’t just a gimmick; it was a reflection of Sly’s philosophy and a potent statement in a turbulent social climate.
Before forming the Family Stone, Sly had already made his mark in the San Francisco Bay Area music scene. He worked as a record producer and DJ at a local R&B radio station, KSOL, where he boldly defied radio conventions by playing artists from across the musical spectrum – from The Beatles and Bob Dylan to James Brown and Otis Redding. This eclectic musical diet shaped his vision for a band that would transcend genre limitations.
The initial lineup of Sly and the Family Stone was as diverse as Sly’s musical taste. It included his brother Freddie Stone on guitar, sister Rose Stone on keyboards and vocals, Larry Graham on bass, Jerry Martini on saxophone, Cynthia Robinson on trumpet, and Greg Errico on drums. Each member brought their unique musical backgrounds and experiences, contributing to the band’s signature sound.
Before the explosion of “Dance to the Music”, Sly and the Family Stone released their debut album, “A Whole New Thing” in 1967. This album, while showcasing the band’s incredible musicianship and Sly’s innovative songwriting, was not a commercial success. Tracks like “Underdog” demonstrated their raw energy and genre-bending approach, but the album failed to resonate with a wider audience.
The Call for a Hit: Crafting “Dance to the Music”
Despite the critical acclaim from fellow musicians and industry insiders, the lackluster sales of “A Whole New Thing” put pressure on Sly and the Family Stone to deliver a hit. Record executives at Epic Records, including Clive Davis and David Kapralik, urged Sly to create something more accessible, something people could dance to. They pointed to his earlier work producing dance-oriented records, suggesting a return to simpler, more groove-focused music.
Jerry Martini, the band’s saxophonist, recalled this period as a turning point. He felt that the label’s push for commercial success compromised the band’s artistic vision. According to Martini, Sly, feeling the pressure, decided to create something deliberately formulaic to satisfy the label’s demands. Whether or not Sly truly “hated” creating “Dance to the Music,” as Martini suggested, the result was undeniable: a track that was both commercially explosive and artistically innovative in its own right.
Sly Stone, drawing inspiration from the band’s electrifying live shows and a diverse range of musical influences, set out to craft a song that would be an irresistible invitation to dance. He channeled the energy of their stage performances, where each band member was showcased, and incorporated elements from soul, R&B, and the burgeoning psychedelic sound of the era.
Deconstructing the Groove: What Makes “Dance to the Music” So Irresistible
“Dance to the Music” is a masterclass in rhythmic construction and sonic layering. The song’s genius lies in its deceptively simple structure and its infectious groove, built upon a foundation of interlocking instrumental hooks and call-and-response vocals.
The song opens with a burst of energy, immediately establishing its dance-oriented intention. Greg Errico’s drums lay down a driving beat, soon joined by Larry Graham’s iconic bassline. This bassline, simple yet profoundly funky, becomes the rhythmic anchor of the entire track. It’s a testament to Graham’s innovative slap bass technique, a style that would become hugely influential in funk music.
As the song unfolds, each band member is introduced in a musical roll call, mirroring the band’s dynamic stage performances. Jerry Martini’s saxophone enters with a sharp, punchy riff, followed by Cynthia Robinson’s bright and brassy trumpet. Freddie Stone’s guitar adds a layer of rhythmic complexity, while Rose Stone’s keyboard fills provide harmonic color.
This instrumental introduction is not just a showcase of individual talent; it’s a carefully orchestrated build-up of sonic textures. The song’s structure is reminiscent of King Curtis’s instrumental hit “Memphis Soul Stew,” which also features a similar instrumental introduction, highlighting each ingredient in the musical recipe.
Then comes Sly’s unmistakable voice, leading the charge with the opening lines: “All we need is a drummer for people who only need a beat / Yeah, and I’m gonna keep on dancin’.” The lyrics are simple and direct, reinforcing the song’s central theme: music and dance as a unifying force.
The chorus, “Dance to the music,” is an irresistible invitation, a universal call to let loose and groove. The call-and-response vocals between Sly and the band further enhance the song’s communal feel, creating a sense of shared experience and collective energy.
A unique sonic element of “Dance to the Music” is the prominent use of the clarinet, played by Jerry Martini. This was somewhat accidental, arising from Martini bringing a clarinet to a recording session instead of his saxophone for convenience. Sly, hearing Martini noodling in the background, decided to incorporate the clarinet into the track. This unexpected choice gave the song a distinctive and slightly quirky sonic signature, setting it apart from typical soul and R&B hits of the time.
The now-iconic “Boom boom boom” vocal interjections, another signature element of Sly and the Family Stone’s live shows, also found their way into “Dance to the Music.” This vocal riff, born from a lyrical mishap during a performance, became a catchy and memorable hook, further contributing to the song’s infectious energy.
A jukebox, with the words
“Dance to the Music”: A Chart-Topping Sensation and Cultural Catalyst
Released in early 1968, “Dance to the Music” became Sly and the Family Stone’s breakthrough hit, catapulting them to national fame. The song soared into the Top 10 of the Billboard Hot 100 chart, peaking at number 8 and becoming an anthem of the year. It wasn’t just a commercial success; it was a cultural phenomenon, embodying the spirit of unity and joyful liberation that defined the late 1960s.
The success of “Dance to the Music” had a ripple effect across the music industry. Otis Williams of The Temptations, hearing the track and other Sly Stone recordings, suggested to producer Norman Whitfield that they explore a similar psychedelic soul direction. Initially dismissive, Whitfield soon embraced this new sound, leading to The Temptations’ groundbreaking hit “Cloud Nine,” a song heavily influenced by Sly and the Family Stone’s innovative style.
“Dance to the Music” played a pivotal role in the emergence of psychedelic soul as a dominant force in Black music. This new genre, blending the funk grooves of James Brown with the psychedelic textures and social consciousness of the San Francisco rock scene, reshaped the landscape of soul and R&B for the decade to come.
The album of the same name, “Dance to the Music,” followed the single’s success. While the album itself didn’t reach the same commercial heights as the single, peaking at number 142 on the Billboard 200 chart, it solidified Sly and the Family Stone’s position as innovators and established their signature sound. Tracks like “Ride the Rhythm” and the extended medley “Dance to the Medley” further explored the band’s dance-oriented, genre-bending approach.
Beyond the Charts: The Enduring Legacy of “Dance to the Music”
Even decades after its release, “Dance to the Music” remains a timeless classic, a testament to its infectious energy and enduring appeal. The song’s simple yet powerful message of unity through music and dance continues to resonate with audiences of all ages and backgrounds.
“Dance to the Music” is more than just a song; it’s a cultural artifact, capturing the spirit of a generation and influencing countless artists across genres. Its impact can be heard in the music of Prince, Michael Jackson, Red Hot Chili Peppers, and countless funk, soul, and pop artists who followed in Sly and the Family Stone’s footsteps.
The song’s innovative structure, its infectious groove, and its message of unity have cemented its place in music history. It’s a song that transcends generations, continuing to inspire people to get up, dance, and celebrate the power of music to bring us together.
Sly and the Family Stone’s journey was marked by both soaring highs and devastating lows, but their musical legacy, particularly embodied in the electrifying energy of “Dance to the Music,” remains undeniable. They were pioneers who broke down barriers, both musical and social, and their music continues to inspire and uplift, reminding us of the unifying power of rhythm and groove. So, turn up the volume, feel the beat, and let Sly and the Family Stone’s “Dance to the Music” move you.
References:
- Selvin, Joel. Sly and the Family Stone: An Oral History. William Morrow, 2017.
- Darlington, Andrew. Don’t Call Me N____r, Whitey: Sly Stone & Black Power. Tangent Books, 2011.
- Kaliss, Jeff. I Want to Take You Higher: The Life and Times of Sly & the Family Stone. Hal Leonard, 2008.
- 5-CD set containing the five studio albums by the original classic version of Sly and the Family Stone
- Joel Selvin’s Sly and the Family Stone: An Oral History
- Andrew Darlington’s Don’t Call Me N____r, Whitey: Sly Stone & Black Power
