{"id":15433,"date":"2017-07-22T09:00:00","date_gmt":"2017-07-22T07:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-categorise\/sly-the-family-stone-everyday-people-stadium-funk\/"},"modified":"2026-09-27T00:00:39","modified_gmt":"2026-09-26T22:00:39","slug":"sly-the-family-stone-everyday-people-stadium-funk","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chroniques\/groupes\/sly-the-family-stone-everyday-people-stadium-funk\/","title":{"rendered":"Sly & The Family Stone – Everyday people, funk de stade"},"content":{"rendered":"

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Bay Area 1967-71 : Stand!, Woodstock, puis Riot assombrit la poche<\/h3>\n

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Sylvester Stewart arrive dans la Bay Area avec une exp\u00e9rience de disc-jockey radio, de producteur de disques, et suffisamment de th\u00e9orie musicale pour savoir que les probl\u00e8mes int\u00e9ressants de 1967 ne sont r\u00e9solus ni par le blues rock ni par la soul classique. Il assemble Sly and the Family Stone autour d’un concept suffisamment inhabituel pour \u00eatre remarqu\u00e9 imm\u00e9diatement : un groupe multiracial et mixte o\u00f9 tout le monde joue, tout le monde chante, et la liste des membres se lit comme une famille. Freddie Stone, son fr\u00e8re, \u00e0 la guitare. Rose Stone, sa soeur, aux claviers et aux voix. Larry Graham \u00e0 la basse. Cynthia Robinson \u00e0 la trompette. Jerry Martini au saxophone. Greg Errico \u00e0 la batterie.<\/p>\n

Le premier album A Whole New Thing (1967) chez Epic Records expose l’id\u00e9e avant que le public n’y soit totalement pr\u00eat. Dance to the Music (1968) est la perc\u00e9e : le titre \u00e9ponyme envoie une instruction simple aux danseurs et en fait l’accroche elle-m\u00eame. Life (1968) arrive rapidement la m\u00eame ann\u00e9e. Avec Stand! (1969), le groupe trouve la version d’eux-m\u00eames qui survivra \u00e0 tout le reste : un album qui s’ouvre sur les dix minutes de \u00ab\u00a0Sex Machine\u00a0\u00bb et contient \u00ab\u00a0I Want to Take You Higher\u00a0\u00bb, \u00ab\u00a0Everyday People\u00a0\u00bb et \u00ab\u00a0Sing a Simple Song\u00a0\u00bb, chacun con\u00e7u pour fonctionner simultan\u00e9ment comme disque de danse, d\u00e9claration d’intention et single radio.<\/p>\n

\u00ab\u00a0Everyday People\u00a0\u00bb atteint le num\u00e9ro un des charts pop et R&B simultan\u00e9ment, faisant valoir le point que Sly avait int\u00e9gr\u00e9 dans la structure du groupe d\u00e8s le d\u00e9but : une musique qui traite l’int\u00e9gration comme une pratique de travail plut\u00f4t que comme un communiqu\u00e9 de presse. Les lignes de basse, les coups de cuivre, les empilements vocaux qui s’appellent et se r\u00e9pondent \u00e0 travers toute la gamme des voix du groupe, tout cela est arrang\u00e9 pour sonner comme une foule qui s’amuse d\u00e9j\u00e0 plut\u00f4t qu’on lui demande de rejoindre la f\u00eate.<\/p>\n

Woodstock en ao\u00fbt 1969 place le groupe sur la sc\u00e8ne mondiale. Sly and the Family Stone joue vers 3 h du matin devant des centaines de milliers de personnes, et la performance, capt\u00e9e sur film et sur la bande originale de Woodstock, reste l’une des d\u00e9monstrations les plus claires de ce que le groupe peut faire \u00e0 pleine \u00e9nergie. Les arrangements rythmiques s’embo\u00eetent, se d\u00e9font et s’embo\u00eetent \u00e0 nouveau. La trompette de Cynthia Robinson tranche \u00e0 travers la basse et la batterie. Sly passe entre les instruments et le microphone avec l’aisance d’un chef d’orchestre qui fait confiance \u00e0 chaque membre sur sc\u00e8ne.<\/p>\n

There’s a Riot Goin’ On (1971) est le pivot et le choc. L\u00e0 o\u00f9 Stand! \u00e9tait un disque ouvert et festif, Riot est trouble, claustrophobe, et enregistr\u00e9 en grande partie chez soi avec des bo\u00eetes \u00e0 rythmes aux c\u00f4t\u00e9s des musiciens. \u00ab\u00a0Family Affair\u00a0\u00bb atteint le num\u00e9ro un comme un single qui sonne \u00e9puis\u00e9 plut\u00f4t que triomphant, ce qui est en soi une forme d’honn\u00eatet\u00e9. La production est \u00e9paisse, lente et d\u00e9lib\u00e9r\u00e9ment difficile par endroits. Il reste l’un des albums am\u00e9ricains les plus \u00e9tranges et les plus influents de la d\u00e9cennie.<\/p>\n

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Fresh (1973) et Small Talk (1974) prolongent l’\u00e9lan, m\u00eame si la fiabilit\u00e9 de Sly devient un probl\u00e8me r\u00e9current. Des concerts manqu\u00e9s, un comportement erratique en studio et hors studio, et des changements de line-up, dont le d\u00e9part de Larry Graham en 1972, modifient la chimie du groupe. La technique de basse slap de Graham, d\u00e9velopp\u00e9e en partie en r\u00e9ponse aux sp\u00e9cificit\u00e9s de la sono de sc\u00e8ne de la Family Stone, va d\u00e9finir le vocabulaire rythmique de la disco et du funk tout au long de la d\u00e9cennie et influencer tous les bassistes qui viendront apr\u00e8s lui.<\/p>\n

L’influence des premiers albums Epic rayonne dans plusieurs directions. Prince absorbe \u00e0 la fois la politique raciale et l’architecture rythmique des arrangements de la Family Stone. Parliament-Funkadelic, l’univers en expansion de George Clinton, prend le concept de performance communautaire de Sly et le pousse vers un territoire th\u00e9\u00e2tral. Les producteurs de hip-hop des ann\u00e9es 1980 et au-del\u00e0 \u00e9chantillonnent abondamment le groupe, cr\u00e9ant une seconde vie pour le catalogue dans un genre qui \u00e9tait encore en train d’\u00eatre invent\u00e9 quand la p\u00e9riode la plus productive de Sly s’est termin\u00e9e.<\/p>\n

Ce qui fait de Stand! et de There’s a Riot Goin’ On des r\u00e9f\u00e9rences permanentes, c’est qu’ils repr\u00e9sentent deux r\u00e9ponses \u00e9galement valides \u00e0 la m\u00eame situation historique : la joie comme r\u00e9sistance, et l’obscurit\u00e9 comme honn\u00eatet\u00e9 sur ce que cette r\u00e9sistance a co\u00fbt\u00e9. Peu d’artistes ont d\u00e9fendu les deux arguments avec une conviction totale \u00e0 deux ans d’intervalle, et encore moins ont vu les deux disques s’imposer comme r\u00e9f\u00e9rences plut\u00f4t que comme curiosit\u00e9s.<\/p>\n

Commencer par Stand! pour la version lumineuse et compl\u00e8te de la Family Stone, et \u00e9couter \u00ab\u00a0I Want to Take You Higher\u00a0\u00bb pour comprendre \u00e0 quoi ressemble un grand groupe qui joue ensemble avec un \u00e9lan collectif r\u00e9el. Passer \u00e0 There’s a Riot Goin’ On pour le contraste, et \u00e0 Fresh pour quelque chose entre les deux. \u00ab\u00a0Everyday People\u00a0\u00bb reste le morceau unique qui dit le plus en le moins de temps : un num\u00e9ro un qui a nomm\u00e9 une situation sociale clairement, a sonn\u00e9 comme s’il le pensait, et a prouv\u00e9 son point en \u00e9tant impossible \u00e0 ne pas danser.<\/p>\n

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Sylvester Stewart a construit Sly and the Family Stone comme un groupe de Bay Area qui ressemblait au public qu’il voulait, a fait de l’int\\u00e9gration une politique de groove sur Stand!, jou\\u00e9 \\u00e0 Woodstock \\u00e0 3 h du matin devant des centaines de milliers de personnes, puis enregistr\\u00e9 la r\\u00e9ponse plus sombre et plus \\u00e9trange sur There’s a Riot Goin’ On.<\/p>\n","protected":false},"author":1,"featured_media":15414,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[287,289],"tags":[428,1000],"class_list":["post-15433","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chroniques","category-groupes","tag-discofunk-fr","tag-sly-the-family-stone-fr"],"yoast_head":"\nSly & The Family Stone - Everyday people, funk de stade - RIFFS AND BEATS<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/riffsandbeats.com\/fr\/chroniques\/groupes\/sly-the-family-stone-everyday-people-stadium-funk\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Sly & The Family Stone - 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