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Before he became one of the architects of funk and a force of change in American music, Sly Stone was Sylvester Stewart, a gifted, churchgoing kid from the Bay area with a sharp ear and rebellious spirit. In the late 1960s, he burst onto the scene with a sound that defied genre, blending soul, rock, and psychedelia, all while fronting a racially integrated, mixed gender band at a time when that was almost unheard of.
Born in Denton, Texas, in 1943, Sly moved with his family to Vallejo, California, at a young age. The Stewart family was deeply religious, and Sly’s first exposure to music came through the Church of God in Christ, where gospel was more than a style, it was a way of life. “We played for the Lord,” Stone later recalled in an interview. “We had no choice. But we liked it.”
By age 11, Slyvester had already recorded a gospel 45 record with his siblings as “The Stewart Four.” His musical gifts were unmistakable, learning multiple instruments including guitar, organ, drums and bass, all by his early teens. Sly even went on to study music theory and composition at Vallejo Junior College, where he was equally drawn to classical music as he was to R&B, and rock.
In the early 1960s, that wide range in music curiosity and knowledge led him to soon become one of the Bay area’s most sought-after radio DJs at San Francisco’s KSOL. He spun everything from James Brown to The Beatles, introducing his audience to artists across racial and genre lines. Around the same time, he also became an in-house producer for Authum Records, where he worked with countless local acts. Even then he stood out, his bold approach to music hinted at something bigger on the horizon.
That moment came in 1966, when Sly Stone truly stepped into his name and vision, forming Sly and the Family Stone, a band as unique in its ensemble as in its sound. In an era defined by racial division, Sly brought together black and white musicians, and both men and women, into one unit, where every member had a voice and spotlight. His brother Freddie handled the guitar, his sister Rose played keys and sang, Larry Graham laid down the basslines and Cynthia Robinson on trumpet. Together, they fused soul, rock & roll, and gospel into something new, the early blueprint of funk, a sound that was as joyful and unpredictable as Sly himself.
The band’s early records, “A Whole New Thing” (1967) and “Dance to the Music” (1968) laid the groundwork, but it was their album “Stand” (1969) that truly ignited their rise to fame. With tracks like “Everyday People” and “I Want to Take You Higher,” the album became an anthem for togetherness, self-expression and joy. “Different strokes for different folks,” were lyrics that carried weight in a country struggling through division.
Their live performances carried that same message, and in late 1968 they brought it into homes across America, on The Ed Sullivan Show. When Sly and The Family Stone made their Sullivan debut, their vibrant style and energy stood out from the show’s usual acts. With a diverse lineup, wild fashion, and a clear message of love and equality, they challenged what was expected. Each of their appearances on Sullivan’s stage was just as exciting as the last, if not more. On March 23, 1969, during their second appearance, the band didn’t just play to the audience they became a part of it. As they performed “Love City” they moved into the crowd breaking the usual boundary between performer and viewer. At the end of both performances, Sly ended with the same heartfelt line, “Thank you for letting us be ourselves.”
That same spirit carried into the summer of 1969, when Sly and the Family Stone took the stage at Woodstock. Scheduled for a prime time slot but delayed by the festival’s chaos, and disorder, the band didn’t hit the stage until 3:30am. However, instead of losing the crowd, they lit it up, and as dawn broke, tens of thousands of people were on their feet singing, “I want to take you higher.” This performance became one of the most unforgettable sets of Woodstock, a cultural moment for all those who were there to experience it, or hear about it.
As a result, Sly and the Family Stone reached new heights. However, their next album “There’s a Riot Goin’ On”(1971), marked a shift in their music. Where earlier albums had been bright, and positive, “Riot” was much slower, and moodier, a reflection of the turbulent times. As the music evolved, so did the challenges within the band. Sly’s increasing issues with drugs began to affect the band’s dynamics. Tensions mounted and by the mid-1970s, key members like Larry Graham and Gregg Errico had left. Still, despite internal issues the band continued to produce influential work, helping to shape the future of funk and planting the seeds for artists like Parliament-Funkadelic, Prince, and generations of hip-hop acts. Musicians ranging from Michael Jackson, and Stevie Wonder, to Miles Davis and even the Red Hot Chilli Peppers have cited Sly as a major influence.
In the decades that followed, Sly faded largely from the public eye. Legal battles, financial troubles, and struggles with addiction were part of his story, as well as a quiet, reclusive life. Yet, the music endured. In 1993, Sly and the Family Stone were inducted into the Rock & Roll Hall of Fame, with most of the original line up in attendance, including a brief appearance from Sly himself.
Today, Sly Stone stands as one of music’s most vibrant pioneers, a visionary whose music shaped genres, and whose message of inclusion, and creativity continues to inspire. He passed away peacefully at his home in Granada Hills, California, on June 9, 2025, leaving behind a legacy that forever changed the soul and consciousness of American music.