over: Courtesy of Epic Records Photo on page 13 used by permission of The Visual Thing, ne CONTENTS DANCE TO THE MUSIC DYNAMITE EVERYBODY IS A STAR EVERYDAY PEOPLE FUN HARMONY HIGHER HOT FUN IN THE SUMMERTIME | AIN'T GOT NOBODY (For Real) | HATE TO LOVE HER i WANT TO TAKE YOU HIGHER UM ON A TRIP TO YOUR HEART INTO MY OWN THING JANE IS A GROUPEE LET ME HEAR IT FROM YOU LIFE M'LADY PLASTIC JIM RUN, RUN, RUN SING A SIMPLE SONG STAND! THANK YOU (Falletin Me Be Mice Elf Agin) UNDERDOG YOU CAN MAKE IT IF YOU TRY YOU'RE THE ONE || SIQNE By David Henderson | first sow Sly and The Family Stone fat the Electric Circus in the fall of 1967. At that time they were fairly much unknown, | was surprised to find them singing some of the hippest music around, They were from San Francisco and came to New York on the tail end of the San Francisco folk rock renaissance in the East. The first night | came into the auto- matic Electric Circus | heard this very funky bess as 1 was walking up the stairs. Then as 1 got to the opening to the dance floor | saw couples dancing in the black light of the rear in a con fusion of luminous white shirts and flowered dresses, The scene reminded me of my San Francisca days and the dances at The Fillmore, The Avalon Ballroom and The Steam Boer Fac: tory. | miss that whole scene; here in New York, dancing is all but outlawed. {As | maved onto the dance floor | saw ‘a huge circlo of people surrounding the podium and a solid line of six dancing people on the stage, On the far right was Sly ot the organ swaying and ‘weaving and getting up to buck dance with his two brothers on guitar: Larry ‘who plays bottom (the bass) and Freddy, Sly's blood brother and lead guitarist and singer. The stage was solid motion, Heading the woodwinds ‘was Cynthia Robinson, a saucy tomato from Sacramento with thick red hair land a sensual bougaloo. She blows hot lip trumpet (the only female player of trumpet I've seen in any ‘roup} and comes forth with a sensual gutsy blues wail as well. Sly, Freddy ‘and Larry do some fantastic rhythm steps, They wave their long black locks and kick their dogs high doing the pony while never missing a note by voice of axe, | could not tell whether ‘the brothers wore mercels of wigs but the effects wore strikingly strange The Family Stone with Sly at the helm plays minor concerts. Each tune nnected by organ interludes is a cog in a larger wheel of tunes that swell a spectrum from blues ballad to bip-bop jazz rock back to hard-up-against-the- wall rhythm ‘n’ blues. All. include organ solos, intricate Bantu voice har monies and holy roller incantations and exhortations, Sly and The Family Stone provide a happy jumping chorus with their voices as well as instruments ‘welded in spirit nammo as one, They explode the energy of an orchestra The trumpet and saxophone combina tions enable them to capture the dramatic failing woodwind rhythm ‘n° blues changes, The sacord time | saw them was at ‘The Fillmare East on Second Avenue, Sly plays a boulah baptist organ, His white Gabriel cape gleams like the full moon. He “ffs Egyptian chromatics with the case of a jack legged proacher. ‘You begin to think he can heal people right on stage, He throws fire and he halds it back — all under control behind the urban baptist beat. He rides along solidly. Larry on the bottom ‘with the bass sometimes gets into out (oF sight interplays with Sly's organ. In Siy’s tunes 1 hear James P, John son, Jelly Roll Morton and. sore James Cleveland too. Rural black lands land the southern crossings of freight trains, the transcended peopies of Africa tuning their symphony banjos ‘of Euro-America to the pitch of their voice, their rap, Voices like instru ment, instruments like voices, The sever. membors of Sly and The Family Stone fill the stage. Their movements cinemascope human har monics in dance and jig. The three brothers pony and hucklebuck in popeyeleg motions, shake down and ball the jack, Sly, Freddy and Larry get into some fantastic harmony and shythi things with their voices. Like for instance their boor-boorn vocal harmonies which made DANCE TO THE MUSIC an instantly recognizable hit ‘Their boom harmonics are but part of their arsenal of innovative effects that seriously challenge the traditional rhythm ‘n" blues establishment of New York City and Detroit: the East. Siy’s songs say something more than “I tove you, baby and you dofor you don't love me,” Take for instance his DON'T BURN BABY BURN, where he turns 3 popular saying among black militants into @ moving ballad. Or JANE ISA GROUPEE, which is blessed with a Lambert Hendricks and Ross virtu sity. He also has a song on his tatest album (Which as of this writing is not ‘out yet), where he talks of the city of the future, where everybody will be able to groove with everybody else. CITY OF LOVE is the name, I think (ContesIndeed it was like a devotional ritual, as jazz funeral to Shango (the African god of life and death), when The Family Stone sang Otis Redding’s classic TRY A LITTLE TENDER NESS, Sly did not sing it exactly like Redding, nor did he sing it exactly like himself, He moved in between Red ding, his own here and remaining true to the original there, Towards the crucial climax af, tenderness, that boautiful buildingup Redding dia which made us burst in anticipation of clashing woodwinds and Otis’ plea, a screaming got to try and please her, Sly suspends tenderness in a heartsink: ing abyss. Sly holds the got to got to, slowiy begins to repeat it, and then staggers the phrase; his brothers join the pendulum swings wider and wider and pretty soon the three brothers ace into 2 timesuspending chant: got to got to now now now got to got to now now now got to got to now now now, They chant it for a while and pretty s90n we have ceased 10 hear the orig: inal words. We're hearing something else, somothing closer to the utter archetypal root of the words in the melody, something out of the forests ‘of Germany and those Anglo-Saxon crags off mainland Europe, with the backbone base of African drum chant in a body ruba, And then after what seems like an etemity, a trip at the speed of light over continents and centuries, thoy ond TENDERNESS in the resounding glory of Otis. The lightshow screen shows purple orbs merging and exploding into an im rmence twilight blue, Then they break into a fire and brimstone rhythm and then as quickly into the hambone. We wanted the audience to quit the freak applause so we could hear the three brothers’ hambones individually (the thump of hand on chest and the slap of palm on thigh, dual rhythm in hymp position), 0 discover if they were into anything. They: were to- gether. Then they jump into tradi tional proscenium Apollo steps, and the Freight train is off once more (Continuedlessness The Family into, Sly has the Even in the tin Stone can 90 power 10 rock the joint at any given 1. Each time is irrevocably We can dance for the into a pure blind rhythm bea ion. Then Sly blending of the rod with jazz_ improvisation: organ, trumpet and sax: scent of Lé includes th future.” (One Saturday we conducted 3 mock interview which really consisted of going around to the east side village head shops and shopping on St Mark's Place for a dress for his ald lady. They were to go to the Amer cana that night to Dimension, We dros back to the hotel changes in which ‘we ha friend who w kaze ori grouped at his hotel for a hot hour concentrated talk before dashing to ChinatownIn the ensuing hour Sly filled us in fon some of the questions and assurnp- tions we posed. Sly could be called a ‘musical prodigy inasmuch as he started singing and playing at the age of four 18 a part of a church group at the All National Church Of God And Christ All of four years old, he sang in a family group, which included his brothers and sistors, called The Stewart Four. His sister and brother sing with him now, not many years later. He is a neighbor of Little Dion, the five-year-old {ackie Wilson) musical talent on the coast. Sly’s father and mother sang together as a duo when they were young, Now Sly's father is their road manager. Sly made a recording, with The Stowart Four backing him up, called ON THE BATTLEFIELD FOR MY LORD. When we asked Sly who was his chief musical mentor, he answered after 2 long pause: “A fellow named Blind Daniel, He was a man of the Lord who Used to visit our church and sing and Play. Sly has two albums (A Whole New Thing and Dance To The Music) out con Epic, as is his latest of which 1 don't know the name. Dance To The Music takes off from the hit 45 of the same title, A whole side is devoted to the exploration of that tune and, as Sly says, to the basic message of fri volity in dance and rhythm, Dance To The Music isa simple sentiment hold ing together a welter of thought. If ‘only the population could indeed dance to the music, the music of life, instead of life, instead of, as England's Anthony Powell says, to the music of time, | recommend both albums — ‘especially if you dance, they are indis- pensable, Both of the albums have 3 myriad of beautiful and surprising effects, and they are good to make love 10 as well, A Whole New Thing blends the ballad and the jump tune with fineness. We found especially 2 tune called IF THIS ROOM COULD TALK. It's a ballad about his old lady. Ht hat beautiful Indian (American) effects, The theme is transmuted from the western movies, but Sly’s har monies vocally transform the wary cry into a modulating tour de force, Let Me Hear It From You is a beautiful ballad from baritone-bass Larry. He tells his gir! that if she wants to break Up with him he wants to hear it from her. remember in the fifties when sroups like The Dells, The Spaniels, and Tre Volours, up at The Apollo, all hhad fentastic deep basses. Larry quali- fies as a boss bass. He covers the bottom instrumentally and vocally. On Dance To The Music | recommend the entire album, especially Higher and Danoe To The Music medley. On the ther side, Color Me True and the boss ballad Don't Burn Baby Burn and Never Will | Fall In Love Again. 1 guess the total message of this long-winded piece is to strongly pull your coat to the Family Stone, They provide in their music @ sure and avant-garde direction to where the rhythm and race music is gaing goodbye. "“Don't Hate The Black... Don't Hate The White. If You Get Bit Just Hate The Bite Make Sure Your Heart PCM CEM itt ig Are You Ready?” DANCE TO THE MUSIC By Sylvester Stewart ce to the music, dance to the music, Dance to the music, dance to the music, All we need is a drum For peoplé who only need a beat. T'm goin’ to add a little guitar And make it easy to move your feet. I'm gonna hit that bottle So that the dancing is all night. You might like to hear on my organ, Isaid, “Ride, Sally, ride, now.” not gonna hear my horn blow eon my throne. Listen to me sittin’ there I got “All the squares go home!” Copyrignt ©1968 by Daly City Muse, Hollywood, Cat 2848S Permission 2HARMONY 1” By SYLVESTER STEWART Moderately (in 2) that's Har-mon - fi Sim-ple as one, two, three, = peo-ple yell, Some ike it, bet -ter use your head. Copyright © 1968 by aly Cty Ms, fo Va Ma, he. 6922 Helynond Hi Hely wood, a, 90028 This ngoment Capyeght 1970 by Day Cay Msi Use hy Berm International Copy Sere Maden USA AIL Rights Resend egWorkin’ out in your prig ~ in’ what you'll Some-thing set- fled in my brain— rer fr stop what you're do - in’ and |lis-ten to me, pr _ Or | who do you want me to be? e—————_—. T have no - ticed more than| ont it's 50 eas-y Harmony-3-219 a 1 wouldney-er put you. down, Sim-ple peo -ple start [talk int, = don't let the smoke ring cross your | mind. Sim -ple pro - gressstarts | jtauk - in’ peo-ple and a walk ~ in’ Harmony-3-3 ee*° DANCE TO THE MUSIC Words and Muste Moderately, with a Rock Beat SYLVESTER STEWART Fe fa aa Y 7 7 4 to themus | - ic, to themus |- ic, rT z Bo ERO [? All we need is adrum. for _|peo-ple who on - ly need a beat. Tm goin! to add a t-te gui-| tar ec easy to moveyour feet. | Soto (ad Ub.) ro | I'm gon-na hit that bot-| tle so that the Jdanc-ing is all = night,| ‘Conyrig© 196 by Daly City Mass, lo Vi Moe. 6222 lyon Hh, Hall wood, Cl 90028. “Ts angen Copiighe ©1970 by Day iy Mo Used by bron Internation Copy Seed skew USA AI Rahs Reseed? Teald, Ride, Sal-ly, rid Solo(ad lib.) FEL gon-nahear— (Spoken) Listen to me “AIL the squares go home} Dance To The Music-2-2 hornblow Sittin! sit-tin' hore on my fF mos-sige that Repeat and seule out22 DYNAMITE Moderate Byers SYLVESTER STEWART Jones 0 that. Clean, Clean, wil, Miss Miss Ee = |what'm 1 opt © 968 Day Interatonl Copyright ected Masi oo Vie Ma to - geth = er and nice. a hand, see her beau - ti fu tyice.—| tan,__| Fat Clean, Clean, got thewish-y She turned on the light, , Helly wood, Calf 90028 A Rights Reseed ‘Cope O17 Day ‘Mie Ved by Reson23 Made my heart beat | Dy ~ na-mite. Dy -na-mite,— Straight to my head,| ‘Miss Clean, Tre -mem-ber what she ‘Miss Clean, 00 Hi ia What'm I to do%— She }turned on the light. — my heart beat—eeEEEEEEE————————————————————_—_________—, 24 EVERYBODY IS ASTAR ; Words and Musle by SYLVESTER STEWART Moderately a in at ra 1, Evry -bod-y is a . Who would run and chase the 2 Bv-'ry-bod-y isa T can feel it when you a s Hay it dust a = way Eyv-'zy - bod - y wants to shine on mo,—— 1 love you for what you e s in att] Who would come out on a Jeloud - y day? "Tis! the sun that loves you not the one youfeel you need to be, Ev- ercateh a fall - ing Copyright 1969 by Stone Foner Mu Ifo Vira Mase, ne. 6922 Haywood Bi Hlywond, Cal 90028 "ths kamacnestCopigt © 170 by Sone Flow Ma, tne aed yeoman Interntonl Coptic eo USA ee Rie Reeda an He when the sys - tem tries— to Ain't no stop = ping til— it's bring you down, fon the ground, — Nev-er had to shine at you don't need dark -ness Ev-'ry-bod-y is a one big cir - cle i do what you think is right * round, and “round, i — Fe I a aR (ade endings Everybody Is A Star-2-2ey By SYLVESTER STEWART i ert tae Fun ison my— mind, Hay-in' fun with each oth Fun when Ipar-ty | par = ty hear -ty, Pun,there'sasis-ter and] there's a broth-er Fe a or Fun, put a smile ‘on your face, Hueave that bum-mer be- hind. Fun, dad-dy al-ways hangs| up the boys, fe just wants to par - ty with moth’ Hal une ror er A. pri-vatethougit can-| not be bought, But | you knowwhat youhave to do. Aca ck-eth un = to oth ~ as | you would have them sock -ethto you. origi ©1965 by Daly Cy Masel Vs Maen, 6972 Hay oo Hyd, CH 90028 Conn ©1963 pment Cosine Oty Dn ey Needy Pan Intentional Capt Soe Then Osh A Rights Reseed D.C.al ¢ Codai PF a 4 Fun Fun when I par -ty, pat a smile Leave that bum-mer be -hind. Fun-2-2eT ——————————————__—___—_—_._____ * HIGHER Moderately Bright Ast bs what you think you have to do, Til pur - sue, ‘out of mind, Pil be there. When you've gone where you have to go, When you've lost all of your friends, T want to take you | high er. T wan =na take you Copii ©1967 by Daly Git Mase, lo Vi Me, ine, 6922 Halwa “Tig avingenet Copyeiht © 1970 by Day Cry Mase” Ue International Copyright Seer ‘dein US. a, Holywood, rey ea SYLVESTER STEWART Whenyou're through with When you thought you, Let me kiow.. What a scare, Let me take you a lt-tle Just a lit-tle ca. 90028 AILRiit Reseedi 1» cota & Fa Want to take you ] hgh er. all that's bright is not what's right. Look a- round, fae D.S.al @ Coda — % welll just get you out of sight. 1 want to take you & _ Repeat and fade Higher-2-232 ‘Medium Fast and Relaxed i 2. That's when T 3. First of sum-mer days, Ta tie Boo boo 00. conyist 1969 by "wera Copyright Secre down when I HOT FUN IN THE SUMMERTIME by SYLVESTER STEWART z th i End of the Spring. had. the Fall. here she of—— my there— she Tun. oes. tee s those sum-mer days,, want to, ‘boo when I want to, oy tne anes MY Man. 2 lye! Hd yrs 9028 Soe anos A igh ReedDt 33 Coun - ty fair. in the— coun =} try and ey - "xy bod-y — gets— drunk, Hot Fun Ja The| Sum-mer - time, | Mot Fun tn ‘The| Summer -time, D.C.al @ Coda Hot Fun In The |Sum-mer -tume,. Hot Fun In The |Sum-mer-time, Coda Hot Fun In The|Sum-mer - time. Hot Fun In The {Sum-mer - time, Hot Fun In The Summertime-2-2B34 | AIN'T GOT NOBODY rea ‘Medium Rock Tempo iia Abmain By. SYLVESTER STEWART ag l got no ~ bod - lgot no - bod = Look-in' af -ter Look-in' af -ter y 1 a y 00, you can look a-round—_ from time to time; You An T wants a down home girl. onyigit © 1968 by Daly City Mase, cf Vea Mate, In, 6922 Hollywood tl, Hoty wood Cait. 90028 js range Copy 1970 by al Ey Mle Dad by Reraion {ntenatanl Copy Secured hscin USA ARs Reedse 35 si see me look -in' don't pay me no. mind, Let me tell you what I'm try~ int to find; Til find her if she's in— this world, |For real is all she has. tobe, A girl who's for real all the time. She don't have to wear a wig, Re-al-- ty is all she has to see, Love is all she has give, She don'thave to be too big, in Life is all she has to live, an- y giv - en cam-mun-i- ty, as long as it “T “ean have all of this Ta bet-ter 4 chan | : ! | | Got No - bod - Got No - bod - Ti Got No - bod -y, Got No - bod-y,. Got No- bod - ys GolNo- bod = oy. pepe) (eo 4 Got No - body. Got No - bod-y. L Ain't Got Nobody(for Real)-2-2°° | HATE TO LOVE HER By Moderately Fast . . Ca re FFF om ; = It's a-bout my heart, Kind-a shak-y in -side It's a-bout my fu-|ture, that I can't fo-cus in, It's a -bout my tears, IT can't ev - en _ hide. Ws a-bout my past, and the times that I've, fee FE an FEF cass coma He that I've been with her. To | Love Her. It's no good, Love—— Her, 1 just hate my-setf, Copyright ©1968 by Day Gy Muss, fo Ve a, ae, 6922 Hollywond d, Helly woo, CU 90028 “Iranian Capysignt©1970 by Day Ely Mae" ty Perma Intentional Copyright Scared Mado US tinier Rennes {37 Boo oo i i HT could. leave her,— Is bad for my health, To |Love——-Her,— She does-n't love-|__me, She can't_ev- en faki i Tied up my} — ming Sor = ry "bout my | ba-by, F 5 se yoo't ro-| apect me, tor | oty —andtoke ta Way woo'tshe ‘be hon |-"" es, and iowe | me be-hin— 0. ee man cme = il noth - er day. get ov-er her, Sig, 2nd D.S. al Fine I Hate To Love Her=2-2°° | WANT TO TAKE YOU HIGHER SYLVESTER STEWART He |: Beat is get - ting strong - er (Shout) Hey Hey Hey | Beat is nit = ty grit, - ty. Beat is there to help you groove Mu -sic get - tin! Iong = er too. Mua-sic's in your ci - ty too. thought to me_| Sound is there to help you groove. 1 |want to T want to take you } high = nv ey ay iy eV en yd yen 5028 emational Copyright Secured ‘ade in USA mA Rh ReseedTwant to take you fhigh r ba - by ba = by light my I want to take you Last time fade a Fine gh (spoken) [Room lack a lack a lack a Boom lack a lack goong « 1 Want To ‘Take You Higher-2-2By #0 |'M ON ATRIP TO YOUR HEART we Be, ty cB Kico Pte pt Ef at EEE ij i AG thought, on ates Know you need at - ten - thor if “T thought you liked silence. gol at = tention for you, Ev- ery ~thing stand Still know you need af -fec- tial - Might sur- prise you, | = | ES __ & got af -fec~ ton for you If somebody told me | = (ant thas foe Y sone had at that oni 196 ay 0 ME pV Ms. na aoe Bd ly od 038 Interatonal Copyii See ene eee “ MO Rights Reseed(an|______ What would you like to do?—————— 1 think Twould smoke and trow if away, ‘That you necd e- ter- al - ty, Sk: | I'd love you forever and ever and ever, ah a fi (abl fT find out Spoken If I thot you didn’ t want to be bothered no more = cnt (ant—___________ Do you like dia T got diamonds, ani emeralds and rubies and things You wantedto be. = T promise I wouldn't ever bug you at all cat os Got those for yor Sung 'm on a trip to your | heart Never see you “a- gain, : p toy a Tm on 2 trip to your | heast, I'm On A Trip To Your Heart-2-2# JANE IS A GROUPEE By SYLVESTER STEWART Moderately Slow a 7 & FH Jane Is A Groupee, Jane makes woop-ee, fF ey a She's got a thing for |guys in the band, ey-!ry mu-si - clan's it GE She's too bus - _y tryin’ to fig-ure “out theshort- er frouteto take the drum-merhome, i Td like to go a-round_ with. you,— |———-- too, Say, Lar -ry,whats @ space? | Said you'd teachme how to play the bass, Ev-or see a Jane in ac -tion Dif ‘rent levels of sat - is - fac tion, Copyright © 1968 by Daly Cy Ali, fe Va Mas, ne, 6922 Helly Hh, Hey wand Cal, 90028 “harman Cpyight 1090 by Dn Cty Mae" Used y Bermcas Ineraina Copyright Seed edo ie USA AI Righe Reserved Iciapsher hands with-out— 2 doubt.— fas no i-de-a what the song's a -boutl— say, hey, Fred -die like you, fvhenyou— play theblues you make me blue, —; s PF since I've got it - tle time to waste, we _|might as well get it home, Cause. Gr to lose —- a frac = ton | of her > -man -hood. F Front row tick-ets for the ver -ynext show, La, La. Lis ten Sly, you canscold_me, you can |write your songs ep - She's'gon-na be there and the horns will fly ~ ing through the songs, — When you get through you ean be with To Coda Pd il fi. ‘6 Jane, Jan shame, shame, shame Jane, Jane, Jane, shame, shame, shame, D.S.al @ Coda Code oe # Shame, Jane Is A Groupee-2-2* M'LADY Hard and Driving f By SYLVESTER STEWART =a. we ‘ A. [omiteot pleas -ure could be oh, 80 A pret-ty rit ©1968 y Day Cy Mano as tina Copyright Sec a 6922 Hollywood Bid Hallynoed, Ca 90028 Gy ae "Use y aro Usk "AN Rights Ressnedbe | e lees eS ff On, what a gor-geous |wife, fi Here's a win-ner,liey,— men-tion that, Hey, a. ive Mer sume al — ent tion (a), 45 Just tort a Repeat aud fade“© LET ME HEAR IT FROM YOU Moderately (with a Blues feeling) = By SYLVESTER STEWART a me pr F If youtalked a-bout me be- find my back, — Let me hear it from you. | If an-oth- er man is hold- ing you be=cause of | some-thing I i a si | ! fie a Hit Ff i Let me hear it from you,— Let me hear it from you, Dies = Ws there to tell me But it's not so bad to tell me, 2 Halwa He, een, 008 eed ee Right Reed8 3 2 FF Let me hear it from for an-oth-er— So if you do ans y-thing— I would-n't want you to do, girl, you, Let me hear it from a i If you had a love t why don't you just tell. And if yoa, and if you just don't think Let Me Hear It From You-3-2 t why don't you just write me a48 Dhar Is bet-ter if you tell me, but it's not so bad if you tell me, So if you do an-y-thing— T would-n't want you to do now, = SI T sald, Lord, let me hear it from | you.— Let me hear i from 2 = it jade out at you. Let me hear it from | you, Let_me hear it trom —— —)— =a Let me hear it from | you, = Let Me Hear It From You-3-3LIFE Moderately ie trial af- ter trial. tell it like it You don't have to die, id . SPF You | might get a-an-gry some time, ‘you're |gon-nabe— sad some—— timey You don't have to come down, 51 By SYLVESTER STEWART = - 7 rk e-fore you live! don't let it run you _a-round. might wake and f\nd your pet is Consist © 1968 by Day City Mase, lo Vie Mae, oe. 6922 Holywood Bd, Hollywood, ai, 90028 This angenent Copyagt © 19D Daly Cy Mate” Uaed by emision Made in USA roan Copyright Secured "nigh Reseedre All you got-ta do is | get your liv-in' down, yba-by, each | time is be- ing a~ [Tone si) if trial af- ter trial,| ‘You don't have tocome down, ? ana You might be seared of | some-thing, look at mis-ter Stew-art! ie rr ' He's the on-ly per- son he [has to fear! He'lL| on=ly let him-selt get near, fo. Don't trust no- If you'd stop be- in’ 504 you canhave a | nice young Ia - dy, Life, Don't gethipped, he | has to go. If you're lov-in', you fcan't be éadnomore. Life, ! ! | | ie 8 rT ett You don't have to come down tell it tke tis. o 7 re You don't have to dle. be-fore you livel. Life-3-3Ba INTO MY OWN THING Rather Slow and Even —=_ = NC — By SYLVESTER STEWART In-to My Own When I'm feel in' great, stop and mod - i - tate,. P r By ty-be ye ey = nt cance D.C. im (ast time, ad tid vocal) al (2nd time, fade out) penmindAnd T am | In-to My Own. —, Copyrisht © 1968 by Daly City Mass, eo Viv Mase. 6922 Hlywood Hi Hollywood, Cale 90028, Tis tangement Copight © 1970 by Day ly Mou" Used by Remi ote! Copyright eee Wisden USA AILRights Reseed°° PLASTIC JIM loderately if Moderately SYLVESTER STEWART sit the plas-tle |peo- ple Plas- tle Jim Ey all his thoughts are fad | ed. He | can-not seem to grade. give youacon- ver-sa |- tion, To a-|void a sit-u-a- aie a fn ‘cause | all his friends are jad ed, Plas - tie that needs con-tem-pla |- tion, Plas - tie Aba as gs lSix-teen years of sehoot, With a cel o-phane smile, Conrigh © 1968 vy Day Cty Mss, lo Vira Ma, oe, 6922 Holywood Bh lly wood, Calf 90025, ‘This tangent Copyight 1970 by Day Ciy Maske Used by Permton eration Copia Seed Medein Un Al Rights Reseed9 sa 59 He | just ean- not be have _swim-ming poole Bat [he will be af-ter Inev-er been @ prob- lem child. sim, Plas - tic Plas - tle Plas - tic Plas- tic | Jim. ait aa hig mind, A=|twice a week he's kind. we | can't con~ trol Would] steal the dead man's ash ~ would | take a blindman's glass | ~ aie n ft 15 Plas - tie rest of the week— he's mine. Plas - tie es. When his eag - le crash ab a coda D.C.al ¢ Coda | ee ! | af é- Gg Plastic Jim-2-2°° RUN, RUN, RUN 10 and Driving By SYLVESTER STEWART we what— we're think-| in’, - void the has - |ete~ing—— they |don't like whatwe're wear] ing. Run, Run, Run, they |don't like Hun, Run, Run, to a Rus, Run, Run, stagger - ing—from arink- know it's might - y dras - they're | do- int a lot of star - least we are— not When it bugs you col- ors we—like, Don't try to | fig -ure out what's hap -pen-ing—__in-| side their heads. The groov-y |mu-sie in ~ side my mind is | so— gay.. Things we do uup = set thoir___ flesh. and |blood and bones. Ain't too much hap = pen = ing in -aide the ‘The com-mer-cialcomes on to | tell me what I ought to be What they ought - a {do leave thelr flesh andblood and Cony In hy Mrs or M822 eyed es pend, 038 ‘his umangren Copp 9 1970 by Bal iy Mane femtaion Inveratonl Copy Seared Malet USA AIR bts ReseedPa, pa, | pa, Pa, Pa, pa, 61 To Coda g NC pa, pa, |Pa, pa, pa, pa, Pa, pa, pa, pa,|La, La, La, La, |La, La, La, La, FFB ona Bc a Re a) lis - ten! 10 Peo-ple lis ten! Peo-ple, (Spoken) lis ~ ten! Hy D.S.al 6 Coda & Coda i. fal© STAND! By Moderately Fast SYLVESTER STEWART ab bb Ei lisbon Db ty pif in the end. you'll still_- be they will try, to make you One that's done- And they know. —— all the things__ you've set out to there's a cross. = what you're say - "ing makes sense at don't you know. ree i i fy " Tn taistt Si rough if yoUt'se— go = ing an - y- veast]— “in” your ‘ind — ff yoe wane for you to bear; ‘Things to go. that you are free; Well, at Stand, for the things. Stand, you've been sit |= you know are right; ing— much too long; Hf i fete — Tes the truth. that the truth_make's them so. = ‘There's a per = ma-nent crease in your right. up tight,___stana, and wroag,— stand, Conytgh© 1969 by Day City sc, lo Via Mase, 6922 Haywood Bl, Hllywod, Ca. 90038 “Tas mrangnent Coyigt © 170 by Day Ey Mase ed by Besa Infrational Copyright Seed ‘seins Ai Righe Reeall tho thing: there's a ‘mid - to com -plete,— = ant be - sido stand-2-2 and there is him a - bout La,la,la, 1a,ta,ta,1a, | 1a, Bet, nodeal.— ‘te fall, You have you. jou want are * and the gi - stand-ing. real; tall, [a DELL, Repeat and fade lala,STAND! By Sylvester Stand, in the end you'll still be you: One that’s done all the things you" Stand, there’s a cross for you to bear Things to go through if you're Stand, for the things you know a It’s the truth that the truth makes them so up tight Stand, all the things you want are real; You have you to complete, and there is no deal Stand, stand, stand! Stand, stand, stand! and, you've been sitting much too lon, ‘There's a permanent crease in your right and wrong, Stand, there’ t, standing ta And the out to fall Stand, stand, id, stand! Stand, they will try to make you crawl; what you're saying make ‘and, don’t you know that you are free; ll, at least in your mind if you wanna be. Stand! La, la, la, a, la, la, la, Ta, 1a, la, 1a, la, Ta, la, la Ja, la, La. THANK YOU (Falletin Me Be Mice By Sylvester Stewart Lookin’ at the devil grinnin’ at thé Fingers start shakin’ I begin to run Bullets start chasin’ 1 begin to stop We begin to He I was on the I want to thank you falettin’ me be mice elf agin. Thank you falettin’ me be mice elf agin. Stiff all in the collar fluffy in the face Chit chat chatter tryin’ stuffy in the place Thank you for the party J could never stay Many things is on my mind words in the way. Twant to thank you falettin’ me be mice elf agin. Thank you falettin’ me be mice elf agin. Ev'ryday peo} e Mame’s so happy Mama start t0 cry Papa still singin’ you can make it if you try. Iwant to thank you falettin’ me be mice elf Thank you falet:in’ me be mice elf agin. Flamin’ eyes of 9eople fear burnin’ into you Many men are missin’ much hatin’ what the Youth and Truth are makin’ love Dig it for a starter Dyin’ young is hard to take Sellin’ out is har Thank you falettin’ me be mice elf agin. ‘Thank you falettin’ me be mice elf agin. by Stone Flower Must, Ine, Holee THANK YOU crate ne 86 Mice Elf Agin) SYLVESTER STEWART . e a RE i sf! i Lookin‘ at the dev = il grin-nin’ at the gua Stiff all in the col ~ lar fluffy In the face— Dance to the mus~ ie all nite long— i Gh aR iit ta Fin-yors start shale - int 1 be-gin to run Chit chat chat -ter try~ int stuf-fy in the place. Ev~'ry-day peo - ple Jing a sim-ple song— EE he eb: CS Bul -lets start chas = in’ T be -gin to stop— whank you for the par -ty Teould nov -er stay— * Ma-ma's so hap - py Mama start to cry : as i i HHS FRE e lz Bit = = |We be-gin to wres - tle Twas on the top, Man-y things is on my mind jords in the way, Pa-pastil sing in’ you can make it if you try. Conyrigh ©1969 by Stone Flower Mais Ino Viv Mae In 6922 Hollywood Ble Holywood, Csi. 90028 ‘Tcarangenent Copy ©1970 by Stone Fiower Mac fied by Feomtn mera Coppi ered ‘inden USK "AL Rights Reedwant to |} ‘Thank you fa - let -tin’ me a be mice - elf_— "Thank you i ig b As bas Flam-in' eyes of peo-ple fear burn-in’ in-to you— a. fd ae Ea fa-let-tin’ me bemice - elf a = Many men— are mis -sin’ much hatin’ what they do— FYouth and ‘Truth_are mak-in' love dig it for a start - er DS. & fade % eS Dy = in’ youg— is ‘Thank You (Falletin Me Be Mico EM Agin)-2-2 sel - ln! = out is hard -es UNDERDOG ; By SYLVESTER STEWART Fast (In Two) a it 8 & nf To Coda, FEA FER a _ im & & F pT know how it feels to | ex-pect to get a fair |shake, but they won't tet] Even if you nev-er | rat-tle, they get up tight, ‘when you get_| Know how it feels when you | know" the real, but but ev- "ry. other time—| a fate FP oP — you for - get that you're the | Un- der dog, and _ you |got- ta be twice as good,_| 2 att = too bright ‘eause you" might start think-In' too much you get a raw aval. Copy © 1968 by Daly City Ms, cf Viv Ma, le, 6922 Holywood Hh, Holywood Ca, 90028 i Ogee Cabs © WINN bay yeas Gad eRe Inforstionl Copp Soe sie US ni Ripe ReseedYeah, Yeah! er Por extravverses) bite DCA Underdog-2-2| *° YOU CAN MAKE IT IF YOU TRY Medium Soul Tempo ae By SYLVESTER STEWART. ror Ff You CanMake It if You ‘You CanMake It 1 You r You Can Make It tt You You Can Make It If You fog = Push a t-te hard - er; ine ait = tle deep - ex, | Don'tlet the plas -tie bring you Tune ishere a-creep - in', fspecal-ly whenyou're sleep - In Wakeup and go for what you 4 ff To Coda (Stout P r All to~ geth-er now! | Yeah, yeah, yeah, yeah, yeah! Ee tre ‘You Can Make It If You Cony ©1968 y Daly Cy Mss, fo Vn Mas, ne, 6922 Holy won Rr, Helywod, Cait. 90028 “Pi uringonet Cosine Wy Bay Cy Ae "tb eae Intrainl Cope Sed ‘ase USh A Rights Resend *You'll get what's due— you, and SS snout) All to =geth-er, now! bie ox Yeah, * Fyetey-tnng comin? to you,— 5 You got to moveif you wan-na be a -head. ? yeah, yeah,| yeah, yeah, yeah! D.S.al # Coda 2 Using FRR ARB] aud verse eft of Isric Repeat and fade ia You Can Make It You | Try.i 1 : | i f | id YOU CAN MAKE IT IF YOU TRY By Sylvester You can make it if you try. You can make it if you try. Push a little harder ‘Think a little deeper, Don’t let the plistic Bring you down. All together now! Yeah, yeah, yeah, Yeah, yeah, yeah! You can make it if you try You can make it if you try. ‘Time creep "Specially when you're sleepin’; Wake up and go for what you know All together now! Yeah, yeah, yeah, Yeah, yeah, yeah! You can make it if you try You can make it if you try You'll get what's due you And ev'rything comin’ to you. You got to move if you Wanna be ahead. All together now! Yeah, yeah, yeah, yeah, yeah, yeah! You can make it if you try. You can make it if you try Time is here a-creepin’, °Soecially when you're sleepin’; Wake up and go for what you know All toge er now hn, yeah, yeah, yeah! h, yeah You can make it if you try You can make it if you try74 SING ASIMPLE SONG Brightly 7 rs if By SYLVESTER STEWART a es aS 23 Tm talk - ant, talk = int, f tat} rm lv - im) ov = in) v= walk - in', walk-[ tht down the _ street. ove,— and smil-} int’ at the frowns, | ) i Const © 1968 by Daly City Mass, clo Va Mu, ne, 6922 Helywand Dd Hollywood, Cl 90028, “Ths arangenen Cpyight © 197 by Day Cy Mase" Ua by fermton Intecnatonl Copyright Seated ‘aden US "A Rights Reed76 ar e fale. Bs] 1 e wy a i ‘Things ave hap -pen-ing | fast 1 have. to hold. hard for you to | smile, ple song—— might make. evn a ae i sim-ple song at last. Lem-mehear you say for ait’ - He while, Lem-mehear you say ws . o Pa o eee Sing A Simple Song-3-276 eee (hou) | Sing att D.c.al ¢ coda Sing it Ising it Sing A Simple Song-3-2YOU'RE THE ONE 7 By SYLVESTER STEWART Spoken Intro - Harmony Tacet Pin the one, you're the one,_— I'm the one,— you're the one,— Tim the one,— you're the one,—— you're the one,— you're the one, r Pr ft 1, I'm the one. who wants to be a = head, 2, Tm the one. my life has | taught to fight, f Fr P 1 stand in tine ad vm be - | blod in stead fo turn a-roud— would nev - er | make it rigxt What is happ'-nin'? Let In ~ side out or. Coneh ©1070 by Stone Flower Musa. lo Vi Muss, Ie. 6922 Holy woo ia; Holywood, il 90028 hic trangeent Copyright 015700 Stowe Flows Mone, in. hed by Pemoon Intratonl Cony Seetee Mad in USA "Rit Reseed ee78 ot a thg— try ing to | noid me down] Now eno 1 TG you gee ae'peniacn | mioreyin een ei Took at me, think I'm near You've The One-3-2 are a lt-Ue | hard to see, re-a-lizel'm | in the clear: Fr (Last time thru: repeat “you ve rhe gue! ma-ma can't | make you good, ‘only ehomghoit ade section) you're the you're the ‘got to ‘Think I'm mak -in' it, 1a 79 | Can't. blame no ar - gu ment, you're the Don't you know now to | take aint, youre the = Your teaen-cr can't | teach yoo duno, — you're the But your pi -ty can | make you you're the | Repeat and fade out | | You're The One-8-3