A Quote by Cynthia Robinson
I saw 'Rolling Stone' magazine once, and they were talking about the top 50 songs, and there wasn't one Sly song; how does that happen? But, Sly isn't the type to brown nose for props. He's always known what he had, what he was capable of; I'm just proud that he took the time and effort to put it to music.
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The music I was really listening to in 1968 was James Brown, the great guitar player Jimi Hendrix, and a new group... Sly and the Family Stone, led by Sly Stewart from San Francisco.
'Dance to the Music' was just Sly Stone being his natural crazy self right from the beginning. The man was an original and his first AM hit was nothing if it wasn't the example per excellence of the Sly Stone music machine.
I love Sly Stone and James Brown and Stevie Wonder, and I want my music to reflect some of that.
I've always loved War's Low Rider and Sly Stone's Thank You, and I just wanted to put my take on them.
I've always loved black culture; I don't know any other way to put it. Since I was a kid I loved music and early jazz, Sly and the Family Stone.
In 1952, Muddy cut the song 'Rollin' Stone.' It was a nationwide success, and the song echoes down through rock n' roll history. Bob Dylan cut a tribute by the same name, an English band decided to call themselves the Rolling Stones, and the magazine that first embraced music as a serious cultural phenomenon was itself called 'Rolling Stone.'
Guitarists shouldn't get too riled up about all of the great players that were left off of 'Rolling Stone Magazines' list of the Greatest Guitar Players of all Time' ... Rolling Stone is published for people who read the magazine because they don't know what to wear.
I was about 14 and I was having a lot of problems with my mom at home, and she really wanted me to focus on school and basketball. But music was all I wanted to do. I felt out of time and out of step with everyone, because they were all into hip-hop and I was so into Sly Stone and Prince.
I've always loved black culture; I don't know any other way to put it. Since I was a kid I loved music and early jazz, Sly and the Family Stone. I'm older - I'm in my early 50s - so you'll have to excuse me. That was always very exciting to me to connect to the culture on that level.
There was a time that I was only known for being a plagiarist. It used to hurt at times because there was so much effort I was putting into music. And instead of that, it was a couple tunes that I had reproduced from folk songs to remake as film songs, which were being written about.
I'm touched by the Beatles. I want some of the music I do to reflect that. Here I am. I love Sly Stone and James Brown and Stevie Wonder, and I want my music to reflect some of that. Here I am. I'm touched by Jon Hendricks. I want some of my music to reflect that. And when I write, you're going to hear it.
My father, Leo Henry Brown, really was talented - he could write. He had a gift, and he had a great, sly humor.
Any art that you are playing based on effort, loses something. I think that most of the time it should be something that happens, and you are inspired, and you just feel and follow your instincts. The best chiseled sculptures happen when the sculptor looks at the stone and says "I saw this sculpture in the stone, and I had to get it out." It's not contrived.
I was exposed to many kinds of music including rock and disco, classical and folk, Midtown and Miles Davis, Sly Stone and David Bowie.
I've had many songs where I've gone, 'Oh, my God, this song is going to be huge!' but it wasn't the right artist, or something just didn't happen. It didn't make the song any worse. It just didn't line up. That does happen.
That's one thing I loved about coming up when we came up. When you had groups like Mandrill and Earth, Wind & Fire, Sly Stone, and on and on and on, the Brothers Johnson, whatever. Everybody, Ohio Players. Groups wanted to be just themselves.
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