{"id":15434,"date":"2016-09-22T16:00:00","date_gmt":"2016-09-22T14:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/sin-categoria\/sly-the-family-stone-everyday-people-stadium-funk\/"},"modified":"2026-11-09T07:09:50","modified_gmt":"2026-11-09T06:09:50","slug":"sly-the-family-stone-everyday-people-stadium-funk","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/es\/criticas\/grupos\/sly-the-family-stone-everyday-people-stadium-funk\/","title":{"rendered":"Sly &#038; The Family Stone &#8211; Everyday people, funk de estadio"},"content":{"rendered":"<section class=\"wpb-content-wrapper\"><p>[vc_row][vc_column][vc_column_text]<\/p>\n<h3 class=\"subtitle\">Bay Area 1967-71: Stand!, Woodstock y luego Riot frena el groove<\/h3>\n<p>[\/vc_column_text][vc_empty_space][vc_column_text]<\/p>\n<p style=\"text-align: justify;\">Sylvester Stewart lleg\u00f3 a la Bay Area de San Francisco con experiencia como disc-jockey de radio, productor de discos y suficiente teor\u00eda musical para o\u00edr, en 1967, un hueco que el blues rock y el soul convencional no cubr\u00edan. Mont\u00f3 Sly and the Family Stone alrededor de un concepto lo bastante inusual para ser notado de inmediato: un grupo multirracial y mixto donde todos tocaban, todos cantaban, y la lista de miembros se le\u00eda como una familia. Freddie Stone, su hermano, a la guitarra. Rose Stone, su hermana, a los teclados y las voces. Larry Graham al bajo. Cynthia Robinson a la trompeta. Jerry Martini al saxof\u00f3n. Greg Errico a la bater\u00eda.<\/p>\n<p style=\"text-align: justify;\">El debut A Whole New Thing (1967) en Epic Records mostr\u00f3 la idea antes de que el p\u00fablico estuviera del todo preparado para ella. Dance to the Music (1968) fue el \u00e9xito de ruptura: el tema hom\u00f3nimo enviaba una instrucci\u00f3n simple a los bailarines y convert\u00eda la instrucci\u00f3n misma en el gancho. Life (1968) lleg\u00f3 r\u00e1pidamente en el mismo a\u00f1o. Con Stand! (1969), el grupo encontr\u00f3 la versi\u00f3n de s\u00ed mismos que sobrevivir\u00eda a todo lo dem\u00e1s: un \u00e1lbum que abr\u00eda con los diez minutos de \u00abSex Machine\u00bb y conten\u00eda \u00abI Want to Take You Higher\u00bb, \u00abEveryday People\u00bb y \u00abSing a Simple Song\u00bb, cada uno dise\u00f1ado para funcionar simult\u00e1neamente como disco de baile, declaraci\u00f3n de intenciones y single radiof\u00f3nico.<\/p>\n<p style=\"text-align: justify;\">\u00abEveryday People\u00bb lleg\u00f3 al n\u00famero uno de las listas pop y R&#038;B al mismo tiempo, haciendo valer el punto que Sly hab\u00eda integrado en la estructura del grupo desde el principio: una m\u00fasica que trataba la integraci\u00f3n como una pr\u00e1ctica de trabajo y no como un comunicado de prensa. Las l\u00edneas de bajo, los golpes de metales, las capas vocales que se llamaban y respond\u00edan a trav\u00e9s de toda la gama de voces del grupo, todo ello arreglado para que el disco ya sonara como una sala que baila, con los metales y las voces delante.<\/p>\n<p style=\"text-align: justify;\">Woodstock en agosto de 1969 puso al grupo en el escenario mundial. Sly and the Family Stone toc\u00f3 hacia las 3 de la madrugada ante cientos de miles de personas, y la actuaci\u00f3n, captada en pel\u00edcula y en la banda sonora de Woodstock, sigue siendo una de las demostraciones m\u00e1s claras de lo que el grupo pod\u00eda hacer a plena energ\u00eda. Los arreglos r\u00edtmicos se encajaban, se deshac\u00edan y volv\u00edan a encajarse. La trompeta de Cynthia Robinson cortaba a trav\u00e9s del bajo y la bater\u00eda. Sly pasaba entre instrumentos y micr\u00f3fono con la soltura de un director de orquesta que confiaba en cada miembro del escenario.<\/p>\n<p style=\"text-align: justify;\">There&#8217;s a Riot Goin&#8217; On (1971) fue el giro y el shock. Donde Stand! hab\u00eda sido un disco abierto y festivo, Riot era turbio, claustrof\u00f3bico, y grabado en gran parte en casa con cajas de ritmos junto a m\u00fasicos en vivo. \u00abFamily Affair\u00bb lleg\u00f3 al n\u00famero uno como un single que sonaba agotado en lugar de triunfante, lo cual era su propia forma de honestidad. La producci\u00f3n era densa, lenta y deliberadamente dif\u00edcil en algunos puntos. Sigue siendo uno de los \u00e1lbumes americanos m\u00e1s extra\u00f1os e influyentes de la d\u00e9cada.<\/p>\n<p>[\/vc_column_text][vc_single_image image=\u00bb15428&#8243; img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_17588700012943{padding-top: 24px !important;padding-right: 48px !important;padding-bottom: 24px !important;}\u00bb][vc_column_text]<\/p>\n<p style=\"text-align: justify;\">Fresh (1973) y Small Talk (1974) prolongaron el impulso, aunque la fiabilidad de Sly se estaba convirtiendo en un problema recurrente. Conciertos cancelados, comportamiento err\u00e1tico dentro y fuera del estudio, y cambios en la formaci\u00f3n, incluida la marcha de Larry Graham en 1972, cambiaron la qu\u00edmica del grupo. La t\u00e9cnica de bajo slap de Graham, desarrollada en parte como respuesta a las especificidades del sistema de sonido en directo de la Family Stone, acab\u00f3 definiendo el vocabulario r\u00edtmico del disco y el funk durante toda la d\u00e9cada e influyendo en todos los bajistas posteriores.<\/p>\n<p style=\"text-align: justify;\">La influencia de los primeros \u00e1lbumes de Epic irradi\u00f3 en varias direcciones. Prince absorbi\u00f3 tanto la pol\u00edtica racial como la arquitectura r\u00edtmica de los arreglos de la Family Stone. Parliament-Funkadelic, el universo en expansi\u00f3n de George Clinton, tom\u00f3 el concepto de actuaci\u00f3n comunitaria de Sly y lo llev\u00f3 a un territorio teatral. Los productores de hip-hop de los ochenta en adelante samplear\u00f3n al grupo extensamente, creando una segunda vida para el cat\u00e1logo en un g\u00e9nero que todav\u00eda estaba siendo inventado cuando termin\u00f3 el per\u00edodo m\u00e1s productivo de Sly.<\/p>\n<p style=\"text-align: justify;\">Stand! y There&#8217;s a Riot Goin&#8217; On son los dos discos que a\u00fan definen al grupo. Stand! es abierto y fuerte, con los metales y las voces arreglados para una pista de baile. Riot, dos a\u00f1os despu\u00e9s, es lento y turbio, y no se baila de la misma manera. El grupo public\u00f3 los dos muy seguidos. Los m\u00fasicos posteriores volvieron a cada uno de ellos, y los dos discos siguieron siendo las referencias, no notas al margen del cat\u00e1logo.<\/p>\n<p style=\"text-align: justify;\">Empezar por Stand! para la versi\u00f3n luminosa y completa de la Family Stone, y escuchar \u00abI Want to Take You Higher\u00bb para entender c\u00f3mo suena un grupo numeroso tocando juntos con verdadero impulso colectivo. Pasar a There&#8217;s a Riot Goin&#8217; On para el contraste, y a Fresh para algo intermedio. \u00abEveryday People\u00bb es el tema corto, y todav\u00eda dice mucho en muy poco tiempo. Lleg\u00f3 al n\u00famero uno de las listas pop y R&#038;B, nombr\u00f3 la situaci\u00f3n en lenguaje claro, y el groove explica que siguiera en la radio y en la pista.<\/p>\n<p>[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n<\/section>","protected":false},"excerpt":{"rendered":"<p>Sylvester Stewart construy\u00f3 Sly and the Family Stone como un grupo multirracial de Bay Area, puso esa formaci\u00f3n a trabajar en Stand!, toc\u00f3 en Woodstock a las 3 de la madrugada ante cientos de miles de personas, y luego grab\u00f3 la respuesta m\u00e1s oscura y m\u00e1s extra\u00f1a en There&#8217;s a Riot Goin&#8217; On.<\/p>\n","protected":false},"author":1,"featured_media":15414,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[299,301],"tags":[427,1001],"class_list":["post-15434","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-criticas","category-grupos","tag-discofunk-es","tag-sly-the-family-stone-es"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.8 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Sly &amp; 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