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Hear Sly and the Family Stone Rock a Small Club in 1967 With Funky ‘I Gotta Go Now'
The funky farewell number from a rare concert recording of Sly and the Family Stone, from 1967, shows how playful the group was in their early days. The medley, 'I Gotta Go Now (Up on the Floor)/Funky Broadway,' opens with climbing organ and horn lines and a funky drumbeat as the group sings, 'I gotta go now,' and it just gets funkier from there. It ends with a riotous 'baahye,' and the audience laughing and clapping. The song features on the album, The First Family: Live at Winchester Cathedral 1967, which previously came out for Record Store Day but is now getting a wide release on July 18. The album features the earliest known live recording of the band, captured at Redwood City, California's Winchester Cathedral, where they played about an hour's worth of Joe Tex, Ben E. King, and Otis Redding covers. It will be available digitally, as well as on vinyl and CD; the CD edition includes a bonus track, a cover of Otis Redding's 'Try a Little Tenderness.' The liner notes to the physical editions contain exclusive interviews with Sly Stone and all of the other original members of the Family Stone, along with never-before-published photos. More from Rolling Stone Sly Stone, Family Stone Architect Who Fused Funk, Rock, and Soul, Dead at 82 'Sly Lives!' Producer Reveals Why Sly Stone Wasn't Interviewed for Documentary Andre 3000 Talks Sly Stone's 'Stankonia' Influence in 'Sly Lives!' Doc Clip 'The Winchester Cathedral recordings showcase a one-of-kind outfit that was already at the peak of its powers, long before it became internationally famous,' the set's producer, Alec Palao, said in a statement. 'Sly is fully in command, while the unique arrangements and tighter-than-tight ensemble playing point clearly to the road ahead, and the enduring influence of Sly & The Family Stone's music.' The concert on the album took place on March 26, 1967, toward the end of the group's Winchester Cathedral residency, when they served as house band from December 1966 through the end of April 1967. The group's manager, Rich Romanello, recorded the gig. Romanello shelved the tapes after the band signed to Epic; Dutch twins and Family Stone enthusiasts Edwin and Arno Konings rediscovered them in 2002. The band's debut album, A Whole New Thing, came out in October 1967. None of the songs from the concert recording, which include many covers, featured on the record. The only original composition, 'I Ain't Got Nobody (For Real),' would later appear on 1968's Dance to the Music. track list: 1. I Ain't Got Nobody (For Real)2. Skate Now3. Show Me4. What Is Soul?5. I Can't Turn You Loose6. Try A Little Tenderness *7. Baby I Need Your Loving8. Pucker Up Buttercup9. Saint James Infirmary10. I Gotta Go Now (Up on the Floor)/Funky Broadway *CD Only Bonus Track Best of Rolling Stone Sly and the Family Stone: 20 Essential Songs The 50 Greatest Eminem Songs All 274 of Taylor Swift's Songs, Ranked
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Sly Stone, Family Stone Architect Who Fused Funk, Rock, and Soul, Dead at 82
Sly Stone, one of the most influential and groundbreaking musicians of the late Sixties and early Seventies who smashed the boundaries of rock, pop, funk, and soul, died on Monday. He was 82. The cause of death was a 'prolonged battle with COPD and other underlying health issues,' according to a statement by his family. 'It is with profound sadness that we announce the passing of our beloved dad, Sly Stone of Sly and the Family Stone,' Stone's family said. 'Sly passed away peacefully, surrounded by his three children, his closest friend, and his extended family. While we mourn his absence, we take solace in knowing that his extraordinary musical legacy will continue to resonate and inspire for generations to come.' More from Rolling Stone Wayne Lewis, Founding Member of Atlantic Starr, Dead at 68 George Wendt's Cause of Death Revealed Hear Sly and the Family Stone Rock a Small Club in 1967 With Funky 'I Gotta Go Now' The family added that Stone 'recently completed the screenplay for his life story, a project we are eager to share with the world in due course.' At the peak of his success, when hits like 'Dance to the Music' and 'Everyday People' were high on the charts, the wildly inventive musician and singer presented a glowingly optimistic image in step with the times, bringing together Black and white audiences, uplifting crowds with electrifying shows. But the unpredictability that was the core of his genius gave way to a long decline, as his personal demons destroyed what he had once been. Born Sylvester Stewart in Texas in 1943, Stone started making music with his siblings as a child: The Stewart Four (Sylvester, his sisters Rose and Vaetta, and his brother Freddie) made their first single, 'On the Battlefield,' in 1952. He moved to California with his family as a kid, and later became a familiar voice in the Bay Area's music scene. As a staff producer at Autumn Records, he put together hits like Bobby Freeman's 'C'mon and Swim'; he also produced 'Somebody to Love' by Grace Slick's pre-Jefferson Airplane band, the Great Society. He was also a DJ on KSOL and KDIA, and later noted that 'in radio, I found out about a lot of things I don't like. Like, I think there shoudn't be 'Black radio.' Just radio. Everybody be a part of everything.' Stone's own band, Sly & the Family Stone, came together over the course of 1966 and 1967. It really was a family of sorts: Sly and his siblings Rose and Freddie were joined by cousins Greg Errico and Jerry Martini, as well as bassist Larry Graham and trumpeter Cynthia Robinson. The Family Stone's breakthrough hit was 1968's 'Dance to the Music,' in which their voices and instruments, high and low, each took a turn in the spotlight. A racially mixed band with male and female members, playing soul-infused rock together was a rare sight at the time — a utopian vision of what pop music could be. Hits like 'Life,' 'Stand!,' 'Everyday People,' and 'Hot Fun in the Summertime' followed: all anthems of solidarity and joy that acknowledged the pain and frustration of the times and encouraged their audiences to transcend it. Sly & the Family Stone's soaring performance of 'I Want to Take You Higher' at Woodstock in 1969 was a triumph of that era, and the band finished the decade with an enormous hit: 'Thank You (Falettinme Be Mice Elf Agin),' whose joyful funk masked the existential horror and lacerating sarcasm of its lyrics. Their next album was supposed to be called The Incredible and Unpredictable Sly & the Family Stone — a sideways reference to Stone's habit of blowing off gigs. He finally released his masterpiece, There's a Riot Goin' On, in late 1971. Recorded with help from Bobby Womack and an early drum machine, it was a bleak, scarred, wobbly vision — the soured remains of the Sixties dream. 'I think that's kind of his like, help the medicine go down approach,' Questlove told Rolling Stone in March. 'He paints a very dark, lyric, paranoia, self-confessional thing almost in every record, but it's so happy-sounding.' The Family Stone disintegrated over the next few years, as Sly sank deep into drug abuse and became even more erratic. He married Kathy Silva on stage in front of a crowd of 20,000 at a sold-out Madison Square Garden show in 1974, but within months, the band had broken up, and the marriage, which produced a son, Sylvester Jr., didn't last much longer. 'He beat me, held me captive, and wanted me to be in ménages à trois,' Silva said years later. 'I didn't want that world of drugs and weirdness.' Sylvia left in 1976. Sly had two more children, Sylvette and Novena Carmel. Sly persevered, making one attempt after another to win back the public: His 1976 album was called Heard Ya Missed Me, Well I'm Back, and the one that followed it three years later Back on the Right Track. After 1982's half-finished Ain't But the One Way, he never released another album of new, original material, despite persistent rumors that he was working on the magical record that would get his career back on its feet. He collaborated with George Clinton, on whom he'd been a huge influence; he turned up for guest vocals on records by the Bar-Kays and Earth, Wind and Fire. Stone's personal troubles continued. He was arrested for cocaine possession multiple times in the 1980s, and he served 14 months in a rehab center beginning in 1989. Between Sly & the Family Stone's 1993 induction into the Rock & Roll Hall of Fame and the 2006 tribute to them at the Grammy Awards (for which Sly appeared for a few minutes with an enormous blond mohawk, then wandered off), he all but vanished. Interviewed by Vanity Fair in 2007, he claimed he had 'a library' of new material, 'a hundred and some songs, or maybe 200.' In 2011, the New York Post reported that he was living in a camper van in Los Angeles; that same year, he released I'm Back! Family & Friends, mostly lackluster new rerecordings of his Sixties classics. But the specter of his glory years remained. Stone's great 1960s and early-Seventies records inspired Miles Davis and Herbie Hancock to incorporate electric instruments and funk grooves into jazz; Prince and the Red Hot Chili Peppers and the Roots have all covered Sly & the Family Stone songs. A little over a year after the release of Stone's autobiography, Thank You (Falettinme Be Mice Elf Agin), a documentary, 2025's Sly Lives! (aka the Burden of Black Genius), reexamined Stone's legacy. The film, directed by Questlove, focused on how Stone's legacy and influence continues to reverberate through popular music along with how Stone carried the weight of that influence personally until it became a burden. 'My intent was always to use Sly Stone to tell our story, my story, D'Angelo's story, Lauryn Hill's story, Frank Ocean's story,' Questlove told Rolling Stone. 'When you're talking about 'blowing it,' a lot of times the fear of failing or the fear of returning to where you came from — which is the very bottom — causes you anxiety about your future, and then causes you to fumble it.' The film featured commentary from George Clinton, Chaka Khan, D'Angelo, Q-Tip, and Family Stone members Larry Graham and Jerry Martini, among several others. 'I feel like a piece of my heart left with Sly. We were best friends for 60 years. He credits me with starting the band, but it was his musical genius that made music history,' Martini said in a statement to Rolling Stone. 'He will always be in my heart and I will continue to celebrate his music with the Family Stone. We extend our sincere love, condolences and prayers to his children and his family. Rest well my dear friend. You will be greatly missed.' Best of Rolling Stone Sly and the Family Stone: 20 Essential Songs The 50 Greatest Eminem Songs All 274 of Taylor Swift's Songs, Ranked
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Watch Sly and the Family Stone Rip Through ‘I Want to Take You Higher' at Woodstock
Sly and the Family Stone didn't have an easy task in front of them when they stepped onstage at Woodstock. It was 3:30 AM, several hours past their scheduled start time, the grounds were soaked and muddy after a pissing rainstorm earlier in the day, and they were terrified to even touch their equipment because earlier acts in the night, including the Grateful Dead, had been badly electrocuted. But Sly Stone — who died Monday after a long battle with COPD — knew this was a moment to prove himself on the biggest stage possible. 'As I flew in I couldn't see the whole crowd, but you could see enough people dotting the landscape that it was hard to believe that there were even more,' he wrote in his 2023 book Thank You (Falettinme Be Mice Elf Agin): A Memoir. 'Goddamn.' I said to myself. 'Goddamn. What the fuck is this?' So many people, an ocean of them without any land for miles. When something is that big a deal, be sure you're ready.' More from Rolling Stone Sly Stone, Family Stone Architect Who Fused Funk, Rock, and Soul, Dead at 82 Hear Sly and the Family Stone Rock a Small Club in 1967 With Funky 'I Gotta Go Now' Dire Wolves Are Back. One 'Dire Wolf' Never Went Away The band had been gigging practically nonstop since forming in 1966, and their landmark LP Stand! — featuring 'I Want To Take You Higher,' 'Everyday People' and 'Stand!' — hit just three months earlier. And less than a month before Woodstock, they dropped the single 'Hot Fun in the Summertime.' In other words, this was a band at the absolute peak of their powers. They opened for a high-energy, euphoric rendition of 'M'Lady,' and the set only grew in intensity from there. The Woodstock movie showcased 'I Want To Take You Higher, the climax of their blazing, ten-song performance. 'What we would like to do is sing a song together,' Sly Stone told the crowd. 'And you see what usually happens is you got a group of people that might sing and for some reasons that are not unknown any more, they won't do it. Most of us need to get approval from our neighbours before we can actually let it all hang down. But what is happening here is we're going to try to do a singalong. Now a lot of people don't like to do it. Because they feel that it might be old-fashioned. But you must dig that it is not a fashion in the first place. It is a feeling. And if it was good in the past, it's still good.' He was speaking the language of the nearly 500,000 hippies in attendance, and they all responded by dancing together in the mud. 'The call, the response. It felt like church,' Stone wrote in his memoir. 'By then the film crew was fully in place. The horns went up into the sky. When the show was over, we were wet and cold…By the next day it was clear that Woodstock had been a big deal, and that we had been a major part of that deal. The festival had put a spotlight on lots of groups, but us and Jimi [Hendrix] the most.' Even though the Who directly followed Sly and the Family Stone, he was absolutely right. A huge percentage of Woodstock attendees cite Sly and the Family Stone's set as the best moment of the entire weekend. (By the time Hendrix played on Monday morning, the place had largely emptied out. No matter what people claimed later, not many people witnessed his set live.) But everyone saw Sly and the Family Stone, and millions more followed once the movie hit. It's no secret that Sly Stone faced many sad and difficult times in the years that followed. But he achieved musical immortality that night at Woodstock. It showcases the power of live music better than perhaps any other performance ever captured on film. Best of Rolling Stone Sly and the Family Stone: 20 Essential Songs The 50 Greatest Eminem Songs All 274 of Taylor Swift's Songs, Ranked
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Sly and the Family Stone: 20 Essential Songs
In a famed 1970 Rolling Stone profile by Ben Fong-Torres, Sly Stone (né Sylvester Stewart) explained the concept behind he and the Family Stone: 'If there was anything to be happy about, then everybody'd be happy about it. If there were a lot of songs to sing, then everybody got to sing. If we have something to suffer or a cross to bear – we bear it together.' Those words — a rare, lucid moment for Stone in that era — encapsulated the group's arc up until that point: from the rosy optimism of their Summer of Love debut through their hit song era and into the cynicism of that early Seventies moment. The band would bear it together, until they couldn't anymore. More from Rolling Stone Sly Stone, Family Stone Architect Who Fused Funk, Rock, and Soul, Dead at 82 Hear Sly and the Family Stone Rock a Small Club in 1967 With Funky 'I Gotta Go Now' 'Sly Lives!' Producer Reveals Why Sly Stone Wasn't Interviewed for Documentary Sly and the Family Stone became the poster children for a particularly San Francisco sensibility of the late Sixties: integrated, progressive, indomitably idealistic. Their music, a combustible mix of psychedelic rock, funky soul and sunshine pop, placed them at a nexus of convergent cultural movements, and in turn, they collected a string of chart-topping hits. Just as they seemed on the cusp of even greater success, Stone made a social and psychological retreat, only to reemerge in 1971 with the sonic equivalent of a repudiation: dark, brilliant and bracing. The band wouldn't survive intact much longer, but in that short span, they redefined the possibilities of pop music. Was Sly and the Family Stone one of the great American funk bands? Rock bands? Pop bands? All of the Stone's first taste of national notoriety began at the tender age of 19 when he produced the moody pop single, "Laugh, Laugh," for the San Mateo folk-rock band the Beau Brummels. As a teen guitarist, Stone's various gigs around San Francisco lead him to cross paths with Autumn Records' Tom Donahue, who gave the budding talent a shot at producing. "Laugh, Laugh" was one of Sly's first efforts and by early 1965, it had climbed into the Top 20. As Ben Fong-Torres said of the single in 1970: "Sly had produced the very first rock & roll hits out of… a city then known for little more than Johnny Mathis and Vince Guaraldi." The "San Francisco Sound" would soon be in full bloom, but here Sly was planting the seeds early Stone's brief stint at Autumn Records, he made use of their studios to mess around with his own compositions, including this funky, chattering instrumental, likely concocted in 1965. Stone self-taught himself how to play an array of instruments, including the organ that can be heard wheezing away on this track. "Rock Dirge" and similar experiments from this era eventually surfaced on a 1975 compilation of Stone's early work and the song was subsequently pressed onto a seven-inch that's become popular amongst breakbeat-crazed proceeds earned from Autumn, Stone set himself and his family up in Daly City, just outside of San Francisco. This is where the Family Stone band began to cohere in the mid 1960s and their first official release came on this single for the local Loadstone label. With its snappy, uptempo backbeat and layered vocal harmonies, the song now sounds like a prescient first draft for a style that would take full form on the group's later hits. "I Ain't Got Nobody" only made noise locally but it helped put the group on the radar of Epic Records who signed Sly and the Family Stone that same the first single and first song on the group's first album, A Whole New Thing, "Underdog" introduced Sly and the Family Stone in as raucous a way possible. It opens, oddly enough, with saxophonist Jerry Martini sleepily riffing on the children's song "Frère Jacques" before giving way to a full acid rock jam of driving horns, dramatic choral yells and a defiant social message about underdogs who have to prove themselves to be "twice as good." George Clinton told official Family Stone biographer Jeff Kaliss that, in listening to the song, "you felt like they were speaking directly to you personally." The song and its album were the group's creative magnum opus… just not a commercial one. They failed to break the Family Stone out nationally, but that moment would come soon Sly Stone song most likely to be heard on a 1980s "as advertised on TV" compilation, "Dance to the Music," netted the group their first Top 10 hit by the spring of 1968. Recorded under the insistent direction of Clive Davis, the single's ebullient, infectious energy helped cover for the fact that, lyrically, it's little more than the band narrating what instruments they're about to fold into the groove: drums, then guitar, bass, etc. Within the group, the song and same-titled album was met with mixed emotions. Saxophonist Jerry Martini, speaking to oral historian Joel Selvin, insisted, "It was so unhip to us. The beats were glorified Motown. We did the formula thing." However, engineer Don Pulese, quoted by journalist Miles Marshall Lewis, claims that Sly himself once said of the single, "that's the best bass and drum sounds I've ever got."Life was a middle child album, shortchanged between the breakout success of "Dance to the Music" and the transcendent accomplishment of Stand! Yet, for all its commercial shortcomings, the album made an impact with critics, especially Rolling Stone's Barret Hansen (a.k.a. the future Dr. Demento) who declared it "the most radical soul album ever issued." Hansen was particularly taken by the group's "element of surprise": Songs like the psych-fringed "Dynamite" or the carnival-esque title track make quixotic shifts in arrangement, with sudden sonic pockets opening up and closing while the Family's singers play tag on lead vocals. As trumpeter Cynthia Robinson told Ebony last summer (before she passed in November), "We were free to adlib things. Sly would cut things off in a different way than the real recordings; he'd just stop it and go into something else.""The things that were happening across the country changed us as people," said Freddy Stone in a 2013 interview with Wax Poetics. "We would begin having conversations amongst ourselves, and Sly being the genius that he is, he was putting these thoughts into songs." The album that came out of that moment, Stand!, absorbed the furious energies of the era's political and musical revolutions and spit back an LP so potent that more than half of its songs would end up being reissued just a year later on the group's Greatest Hits. "Everyday People" remains the group's pinnacle of that era, a flamboyantly utopian anthem about forging unity through difference. All that and Scooby Dooby Doo, ya'll."Everyday People," was an undeniably feel-good pop hit, but for the best-selling single's B-side, the Family Stone unleashed this blistering blast of funk. As rollicking and aggressive as anything James Brown and his crew were pumping out, the song also found Sly playing with studio techniques, including stereo panning to split instruments into separate channels. Greg Errico – whose crackling drum work on the song would be liberally sampled decades later – told interviewer Eric Sandler in 2013: "The track was laid so down to the bone and we all knew it was. You could feel it."Elsewhere on Stand!, the Family Stone may have painted their social commentary in varying metaphoric shades but with "Don't Call Me Nigger, Whitey," they left little room for reinterpretation. Clocking in at nearly six minutes, the song is almost all hook (save for a short Rose Stone verse) and its stark, defiant tone stands in sharp contrast to the album's more optimistic vibes. The song is also striking for its spaced-out vocoder effects and distorted instrumentation, predating and predicting the launch of the P-Funk Mothership half a decade only fitting that this song – now considered one of Woodstock's most legendary performances – took form at another seminal Family Stone concert: the 1968 Fillmore East show. The original "Higher," a jerky album cut off Dance to the Music, was part of their set and during the performance, the group began to improvise with it, adding the crucial line, "I wanna take you higher." By Stand!, the song had evolved into a lumbering, aggressive tune that promised to drag you to a higher plane whether you were ready to tag along or rushed to capitalize on the group's incandescent Woodstock performance by releasing "Hot Fun in the Summertime" as a standalone single in August of 1969. Compared to the social messaging on Stand!, "Hot Fun" delivered what its title promised: a fun summer anthem awash in some gentle streams of nostalgia and a rare instance of Stone using a string section. Critics generally treated it as a pleasant trifle – Rolling Stone's Jon Landau compared it to "a hard version of the Lettermen" – but years later, George Clinton would laud it as "proof that funk could be a pop standard.""Thank You" would have been memorable enough thanks to Sly's strange, phonetic title but the song's enduring legacy rests mostly with the thumb of bassist Larry Graham. His "thunkin' and pluckin'" technique revolutionized the role of the bass as a lead instrument in R&B, leading music writer and scholar Ricky Vincent to opine, "perhaps more than any other record, 'Thank You' introduced the Decade of Funk."It says much about the Family Stone's power and popularity in 1970 that a compilation ostensibly made to collect their past hits would end up creating three entirely new ones. "Hot Fun" and "Thank You" were huge successes in their own right but perhaps the most timeless was "Everybody Is a Star." Even more than "Everyday People," "Star" was Sly and the Family Stone at their self-affirming best — a happy, hippy-er version of the "black is beautiful" slogan of the era. Of course, if the song was a high point, by extension, what came next meant that Sly and the Family Stone were about to get and the Family Stone were supposed to follow the Greatest Hits anthology with a new studio album in 1970. Instead, Stone decided to postpone that recording while moving his base of operations to Los Angeles, the first of many decisions that began to fray relationships within the band. For the next year or so, Sly stayed in seclusion, frustrating bandmates, label reps and fans. Drugs and gnawing paranoia didn't help, but this "lost" period was also a fertile creative time for Stone as he tinkered with new toys, especially emergent drum machine technology. Beatboxes were still a novelty item then, nothing a serious musician would consider using as a studio instrument. But through Sly's own Stone Flower imprint, he began to explore its musical potential on the lone single by vocal group 6ix. In a rare contemporary interview for the liner notes of I'm Just Like You, a Stone Flower anthology, Sly told Alec Palao, "All instruments are real. Anything that can express your heart, it's an instrument, man." By 1971, those ideas would come into fuller fruition on the group's epochal There's a Riot Goin' Marcus famously wrote that There's a Riot Goin' On! "was no fun. It was slow, hard to hear, and it isn't celebrating anything." In short, "It was not groovy." These were all meant as compliments since the album's dark tones – literal and figurative – felt like an unflinchingly honest expression of both the Family Stone's internal turmoil and the state of America waking up from its late Sixties high and facing the early Seventies' bleak hangover. The group's last Number One single, "Family Affair," was a sobering retreat from the sunny positivity of "Everybody Is a Star," replacing it with a meditation on human strife and weakness, cleverly masked within the mesmerizing burbling of its drum machine rhythms. In a 1971 Rolling Stone interview, Sly insisted, "I don't feel being torn apart," but many around him wondered more than "Family Affair," "Running Away" felt like a song at odds with itself. The message was unambiguous – "running away/to get away … you're wearing out your shoes" – and the "ha-ha, hee-hee" laughter feels mocking in every stanza. But in contrast, the music feels light and luminous with a jaunty guitar and bright brass section that would have been at home with Earth, Wind & Fire. Cynicism never sounded so the time Sly had disappeared into his L.A. studio, he was experimenting with playing every instrument he could lay his hands on. Riot still featured the Family players, but in many instances it was all Sly, overdubbing himself playing the various parts. With each new layer, the sound quality would gradually deteriorate into the hazy, opioid sound heard on "Time," "Thank You for Talkin' to Me Africa," "Luv N' Haight," and other songs: all slurred and half-dreamed. The affect was as alluring as it was foreboding – a journey into the heart of funk's Family Stone came undone in the Riot era, amid a string of near-mythologically disastrous concerts. To work on his next album, Fresh, Sly headed back to the Bay, but began replacing several of the key players who had been with him since at least the "Dance to the Music" days. Despite the change in personnel, Fresh was a compelling sequel to Riot's funk explorations, albeit not nearly as dark or pathos-laden. "If You Want Me to Stay," the album's modest hit, still saw Sly keeping his audience at arm's length. As the singer explained on a radio interview, "That's exactly what I meant, what I wrote. If you want me to stay, let me know. Otherwise, sayonara."The most damning-with-faint-praise for Small Talk, Sly and the Family Stone's final group album of the 1970s, may have come in Billboard's July 1974 review where an uncredited critic offers "not really much new in the way of presentation… but… there really is no need for a successful star to have to come up with something new on each LP." They weren't wrong: Small Talk mostly retread the same stylings, but the formula still had legs, especially on the tightly wound "Can't Strain My Brain," one of many Sly songs of the era where he hinted at his gradually loosening grip on the last great Sly Stone song, "Remember Who You Are" wasn't a full-fledged return to the original Family Stone. Sly had jettisoned the band several years earlier, recording under his own name, including on 1976's Heard Ya Missed Me, Well I'm Back, perhaps one of the worst on-the-nose album titles in history. Back on the Right Track, in 1979, sounds like a concession to the mistakes of the past and, at least for "Remember Who You Are," he reunited siblings Freddie and Rose Stone to share vocals, recapturing some of that old Family Stone magic. { pmcCnx({ settings: { plugins: { pmcAtlasMG: { iabPlcmt: 1, }, pmcCnx: { singleAutoPlay: 'auto' } } }, playerId: "d762a038-c1a2-4e6c-969e-b2f1c9ec6f8a", mediaId: "e4dc3aa6-3781-4d73-8332-8e311e2c5c59", }).render("connatix_player_e4dc3aa6-3781-4d73-8332-8e311e2c5c59_1"); }); Best of Rolling Stone The 50 Greatest Eminem Songs All 274 of Taylor Swift's Songs, Ranked The 500 Greatest Albums of All Time
