Sly Stone, Sly and the Family Stone Frontman, Dead at 82
Sly Stone has died. He was 82
The rocker was known for Sly and the Family Stone hits like "Dance to the Music" and "Everyday People"
"While we mourn his absence, we take solace in knowing that his extraordinary musical legacy will continue to resonate and inspire for generations to come," his family said in a statementSly Stone, the leader of the band Sly and the Family Stone, one of the most influential bands in the development of funk, soul, R&B, rock and psychedelic music, has died. He was 82.
"It is with profound sadness that we announce the passing of our beloved dad, Sly Stone of Sly and the Family Stone," his family said in a statement on Monday, June 9. "After a prolonged battle with COPD and other underlying health issues, Sly passed away peacefully, surrounded by his three children, his closest friend, and his extended family. While we mourn his absence, we take solace in knowing that his extraordinary musical legacy will continue to resonate and inspire for generations to come."
The statement continued, "Sly was a monumental figure, a groundbreaking innovator, and a true pioneer who redefined the landscape of pop, funk, and rock music. His iconic songs have left an indelible mark on the world, and his influence remains undeniable. In a testament to his enduring creative spirit, Sly recently completed the screenplay for his life story, a project we are eager to share with the world in due course, which follows a memoir published in 2024."
"We extend our deepest gratitude for the outpouring of love and prayers during this difficult time. We wish peace and harmony to all who were touched by Sly's life and his iconic music. Thank you from the bottom of our hearts for your unwavering support," it concluded.
Sly and the Family Stone's membership included two of his actual siblings, and they released massive hits like "Dance to the Music,' "Everyday People" and "Thank You (Falettinme Be Mice Elf Agin).' However, his drug use and behavior affected the group, which split up for good in the '80s.
Sly was born Sylvester Stewart in Denton, Texas, in 1943. The family soon moved to California, where Sly began singing in the church choir from the age of 4, alongside his siblings. His nickname Sly came about when a classmate misspelled his name, and once he changed his stage surname from Stewart to Stone, his siblings Freddie and Rose, both of whom joined him in Sly and the Family Stone, did the same.
Sly began performing in bands in high school, then went on to study music theory at Solano Community College. By the mid '60s, he had left school to work as a DJ for San Francisco's KSOL, which became known as KSOUL because of its focus on the soul genre. He also worked with many emerging acts.
By 1966, Sly had his band, Sly and the Stoners, and Freddie had his, Freddie and the Stone Souls. They decided to join forces. 'The band had a concept — white and Black together, male and female both, and women not just singing but playing instruments,' Stone wrote in his 2023 memoir Thank You (Falettinme Be Mice Elf Agin). 'That was a big deal back then, and it was a big deal on purpose.'
Sly and the Family Stone began performing together in 1967 and released their debut album, A Whole New Thing, that year.
"It was like seeing the Black version of The Beatles,' funk legend George Clinton told CBS in 2023 of Sly and the Family Stone. 'He had the sensibility of the street, the church, and then, like, the qualities of a Motown, you know, Smokey Robinson — he was all of that in one person."
'Dance to the Music,' also released in 1967, was their first hit single. They released their album of the same name the next year. Stand, released in 1969, became their biggest success, with hits like 'Everyday People,' "Hot Fun in the Summertime" and "Thank You (Falettinme Be Mice Elf Agin)"/"Everybody Is a Star.'
They performed at Woodstock that summer. Cynthia Robinson, who played trumpet, recalled to PEOPLE in 1996 about their performance of 'I Want to Take You Higher.' 'It was pouring rain. Freddie got shocked. The equipment was crackling. But Sly was like a preacher. He had half a million people in the palm of his hand.' That same summer, the band also performed at the Harlem Cultural Festival, as documented in Questlove's Oscar-winning documentary Summer of Soul.
However, Sly began to struggle amid heavy drug use. During 1970 and 1971, he missed a third of the band's concerts.
In 1974, Sly married Kathy Silva during one of the band's performances at Madison Square Garden. They shared son Sylvester Jr., born a few months before the wedding.
Silva told PEOPLE in 1996 of their marriage, 'He beat me, held me captive and wanted me to be in ménages à trois. I didn't want that world of drugs and weirdness.'
She continued, 'He'd write me a song or promise to change, and I'd try again. We were always fighting, then getting back together.' But in 1976, his dog bit Sylvester Jr., and Silva divorced him.
Sly and Cynthia Robinson shared a daughter, Sylvyette Phunne, born in 1976. He welcomed a third child, Novena, in 1982.
Sly and the Family Stone released Greatest Hits in 1970 and There's a Riot Goin' On in 1971, considered one of the most influential albums of all time. But tensions were beginning to boil over in the band. Later albums featured more and more of Stone and less of the rest of the band, and in 1975, they broke up.
Sly began working on solo music. "Some people actually believed that I could not finish a project," he told PEOPLE in 1980. "I was pissed off at a lot of things. So much got on my nerves.'
His solo efforts were not as successful, and drugs continued to derail his career. In 1983, Sly was arrested for cocaine possession in Florida. He went to rehab in 1996, with Sylvester Jr. telling PEOPLE at the time, 'He went in by choice, to concentrate on getting healthier. He's had problems because he hasn't been able to grow up. He's meant no harm to anyone.'
In 1993, Sly and the Family Stone was inducted into the Rock and Roll Hall of Fame, but he kept his distance from the rest of the band, only coming on stage at the end of the induction.
Sly mostly remained out of the public eye after that. A rare appearance came at the 2006 Grammy Awards, where a tribute to the band was performed — but he left the stage midway through the performance. He appeared on stage with the band at a handful of performances after that. In 2017, he received the Recording Academy's lifetime achievement award.
Sly finally got clean in 2019, after his drug use landed him in the hospital four times in a period of a few weeks. The doctor told him drugs would kill him. 'That time, I not only listened to the doctor but believed him,' he told The Guardian in 2023. 'I realized that I needed to clean up. I concentrated on getting strong so that I could get clean. My kids visited me at the hospital. My grandkids visited me. I left with purpose.'
In 2023, he released his memoir Thank You (Falettinme Be Mice Elf Agin), named after the band's classic 1970 single. In it, he wrote of other people talking about his life: 'They're trying to set the record straight. But a record's not straight, especially when you're not. It's a circle with a spiral inside it. Every time a story is told, it's a test of memory and motive.… It isn't evil, but it isn't good. It's the name of the game, but a shame just the same.'
In 2025, Questlove released the documentary Sly Lives! (aka the Burden of Black Genius), which chronicled the musician's rise and fall.
Despite his ups and downs, he told The Guardian in 2023, 'I never lived a life I didn't want to live.'
In the film, which premiered at Sundance and is now streaming on Hulu, Stone's son and daughters were interviewed, with Carmel demonstrated just how normal things had become for the star since his wild rock star days.
She said that when she asked Stone what he wanted to eat for his birthday, all he asked for was a "big pizza with all of the toppings."
'He's also a big fan of Westerns and cars,' she says. 'He's kind of just like, a standard old Black man.'
During a recent Q&A screening of the film, producer Joseph Patel explained that he and Questlove opted not to feature Stone on camera in a new interview in the documentary because it didn't 'feel right' given his frail health.
"Ahmir's first thing he said was, 'Let's tell this story with a lot of empathy.' That's not empathetic,' Patel said. "We interviewed Sly for [the Oscar-winning documentary] Summer of Soul in 2020. And he had just gotten clean, and he just — he doesn't have the motor function. He can't speak in full sentences. His eyes reveal a precociousness and a lucidity that's there, but his motor function doesn't exist."
While the documentary doesn't skip over Stone's decades-long struggle with substance abuse, Questlove said the "most important part" was to present Stone as a person rather than a personality, because "it's rare that Black people get seen as humans."
Sly is survived by his children.
Read the original article on People
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Forbes
a day ago
- Forbes
Sly And The Family Stone Owns Half Of A Billboard Chart After The Singer's Death
Following Sly Stone's passing, Sly and the Family Stone return to Billboard's R&B Digital Song Sales ... More chart with five tracks, including 'Everyday People' at No. 2. Headshot of American singer and songwriter Sly Stone performing with his band Sly and the Family Stone on the television series 'Midnight Special, ' circa 1974. (Photo by Fotos International/NBC Television/Courtesy of Getty Images) Sly Stone, one of the most innovative musicians in recorded music history and the leader of Sly and the Family Stone, passed away on June 9 at the age of 82. Throughout his storied career, Stone was responsible for some of the catchiest R&B and pop tracks ever, which stormed the charts throughout the late 1960s and early 1970s. Following his passing, Americans began buying some of the group's most famous singles once more. All that renewed love has led to quite the chart takeover for Sly and his namesake group. Sly and the Family Stone claim five spots on the R&B Digital Song Sales chart this week. The musicians occupy half of the entire 10-position ranking of the top-selling R&B-only tracks in the U.S. Most of the band's current wins are new to the tally, while one returns and reaches a new peak position. 'Everyday People' ranks as Sly and the Family Stone's biggest win on the R&B Digital Song Sales chart this frame. The track returns for just its second stay on the purchase-centric list, arriving at No. 2. Sly and company are held back from the summit by 'Type Dangerous,' Mariah Carey's latest launch, which conquers the R&B Digital Song Sales ranking. The other four Sly and the Family Stone tunes that land on the R&B Digital Song Sales roster this week are all new entries. 'Dance to the Music,' 'Hot Fun in the Summertime,' 'Thank You (Falettinme Be Mice Elf Agin),' and 'Family Affair' debut at Nos. 4, 5, 7, and 10, respectively. It's a crowded week for debut appearances on the R&B Digital Song Sales chart, as 60% of the spots on the 10-position list are occupied by tracks that have never landed on this roster before. In addition to Sly and the Family Stone and Carey, Keith Sweat and Athena Cage launch 'Nobody' at No. 8. Before this week, Sly and the Family Stone had only landed one hit on the R&B Digital Song Sales chart, and it was 'Everyday People.' Now, the group is up to five career placements on the tally. The band likely would have dominated this kind of ranking during its heyday had this specific Billboard tally existed decades ago.
Yahoo
4 days ago
- Yahoo
Sly Stone Believed Everybody Is a Star: The Massive Legacy of an Avant-Funk Revolutionary
Thank you for the party, but Sly could never stay. Sly Stone was always the ultimate mystery man of American music, a visionary genius who transformed the world with some of the most innovative sounds of the Sixties and Seventies. With Sly and the Family Stone, he fused funk, soul, and acid rock into his own utopian sound, in hits like 'Family Affair' and 'Everyday People.' Yet he remained an elusive figure, all but disappearing in the 1970s. When he died on Monday, it seemed strange he was 'only' 82, because he seemed even older — as if he'd outlived himself by decades. Yet his music sounds as boldly futuristic and influential as ever, which is why the world is still reeling from this loss. Nobody ever sounded like this man. Sly could write inspirational songs of unity, anthems like 'I Want to Take You Higher' that would turn a live crowd into a euphoric tribe, or uplifting hits like 'Stand!' or 'Everybody Is a Star' that can catch you in a lonely moment and make you feel like the rest of your life is a chance to live up to the song's challenge. More from Rolling Stone 'He Would Be in the Top 10': Ben Fong-Torres on Writing Sly Stone's Rolling Stone Cover Story Vernon Reid on Why Sly and the Family Stone Were the Greatest American Band Chuck D Explains How Sly Stone Influenced Public Enemy But that went side by side with his streetwise sense of betrayal and rage. 'Everybody Is a Star' comes on like a love song to human hope, so radiant in every tiny sonic detail, with Sly chanting, 'Shine, shine, shine!' But it's also got the weird question, 'Ever catch a falling star? Ain't no stopping till it's in the ground.' Sly Stone wanted to remind you that you were the star of hope in the sky — but you could also be the star that comes crashing down into a crater. All his contradictions come together in his greatest song, the 1970 funk blast 'Thank You (Falettinme Be Mice Elf Agin),' with the hardest bass-versus-guitar staccato slash attack on Earth. The chorus sounds cheerful on the surface: 'Thank you for letting me be myself again!' But the closer you listen, the more dread and anger you hear. For Sly, with all of his fame and fortune, this is what it all comes down to: Lookin' at the devil. Grinnin' at his gun. Fingers start a-shakin'. I begin to run. It's a death haiku that's all the scarier for being delivered as a party chant. Bullets start a-chasin'. I begin to stop. We began to wrestle. I was on the top. The groove keeps churning, but with no resolution. There's no victory in Sly's battle with the devil — just the temporary triumph of not being defeated, at least not yet. The Family Stone was his ideal of a band as a self-contained community, uniting musicians of different races, different genders, some friends, some relatives — but with everyone lending a voice. His Family Stone built the template for countless music collectives, whether it was the Native Tongues, Prince's Revolution, Afrika Bambaata's Zulu Nation, the Wu-Tang Clan, OutKast and the Dungeon Family, or beyond. 'The concept behind Sly and the Stone,' he told Rolling Stone in 1970, 'I wanted to be able for everyone to get a chance to sweat. By that I mean … if there was anything to be happy about, then everybody'd be happy about it. If there was a lot of money to be made, for anyone to make a lot of money. If there were a lot of songs to sing, then everybody got to sing. That's the way it is now. Then, if we have something to suffer or a cross to bear — we bear it together.' Some of the Family were virtuoso singers, others just filling in for a line or two at a time, but there was always that utopian tribal spirit. His band was a visionary blend of James Brown/Stax/Muscle Shoals funk teamwork, but with the anarchic jamming of the hippie bands from the San Francisco acid-rock scene where he made his first converts. As Sly put it in the title of their debut album, it was A Whole New Thing — a radically democratic sound where everybody was a star. Sly's tough charisma made him a unique presence in Seventies pop culture — remote, cool, unknowable, hiding behind a smile that gleamed like bulletproof glass. You could always see him show up in places like the sitcom Good Times, set in a Chicago housing project, where the cool teenager Thelma had posters of Sly and Stevie Wonder on her bedroom wall, almost like good-angel/bad-angel twins. There was a comedian on BET who used to do a hilarious routine about growing up in the Seventies and watching Soul Train. 'When I was a kid, I didn't know what drugs were. I just knew there was something wrong with Sly.' Those contradictions were always built into his music. 'If It Were Left Up to Me' is one of his funniest, nastiest gems ever, a Fresh funk quickie from 1973, where the singers chant sardonic promises full of sleight-of-hand wordplay, until it ends with a sarcastic, 'Cha-cha-cha!' There's 'Que Sera Sera,' also from 1973, refurbishing an old Doris Day chestnut about how everything always works out for the best, except that Sly turns it into a slow-motion dirge full of dread, a warning that fate is out to get you. 'Que Sera Sera' took on a new life in 1989 as the perfect closing theme for Heathers, as Winona Ryder struts through her high school, covered in soot and ashes. When Shannen Doherty gasps, 'You look like hell,' Winona smirks, 'I just got back.' A very Sly line — so it's fitting that Heathers made 'Que Sera Sera' the closest he got to a comeback hit in the Eighties or Nineties. Sly Stone was born in Texas, but raised in the blue-collar Bay Area town of Vallejo. He was just five years old when he cut his first record with his family gospel group, the Stewart Four. But he was already a musical prodigy, mastering piano, guitar, bass, and drums. Barely out of his teens, he became a radio DJ on KSOL ('Super Soul'), where he honed his eclectic musical tastes. 'I played Dylan, Lord Buckley, the Beatles. Every night I tried something else,' he said in 1970. 'I really didn't know what was going on. Everything was just on instinct. You know, if there was an Ex-Lax commercial, I'd play the sound of a toilet flushing. It would've been boring otherwise.' But he got bored with the strictures of genre formatting. 'In radio,' he said, 'I found out about a lot of things I don't like. Like, I think there shouldn't be 'Black radio.' Just radio. Everybody be a part of everything.' He became a house producer at the local label Autumn Records, producing Bobby Freeman's huge 1964 dance hit 'C'Mon and Swim.' But he also worked with the wildly innovative folk rock of the Beau Brummels — he helmed their 1965 classics like 'Don't Talk to Strangers,' 'You Tell Me Why,' and 'Not Too Long Ago' with the melancholy tinge he would bring to his own band. He also produced one of the Bay Area's first hippie bands, Grace Slick's pre-Jefferson Airplane group, the Great Society. For their classic debut single — 'Free Advice' on one side, the original 'Somebody to Love' on the other — he famously drove the band through 286 takes. But one of his most crucial learning experiences at Autumn was watching everybody get ripped off. It was his first time getting burned in the music business, and he made sure it would be the last. He never again got involved with projects he didn't control. So he began putting together his own band, inspired by the local free-form rock scene happening at places like the Family Dog and the Fillmore. 'The concept was to be able to conceive all kinds of music,' he said in 1970. 'Whatever was contemporary, and not necessarily in terms of being commercial — whatever meant whatever now. Like today, things like censorship, and the Black-people/white-people thing. That's on my mind. So we just like to perform the things that are on our mind.' Once the world heard 'Dance to the Music,' nobody could resist, as the hits kept coming: 'Everyday People,' 'M'Lady,' 'Stand!,' 'Hot Fun in the Summertime.' The Family stole the show at Woodstock, turning 'I Want to Take You Higher' into a massive hippie chant. People always wanted more-more-more from Sly, based on the utopian promises of his songs. But he became the first major star who made an artistic flourish out of pulling back, whether it was going onstage late — he made that one of his trademarks — or simply blowing off shows. He made a point of being combative in interviews. That also meant long delays between records — after Stand!, he kept everyone waiting an unimaginable 18 months for new music, forcing his record company to drop the utterly perfect Greatest Hits. (The delay also gave Motown time to whip up the perfect Sly and the Family Stone substitute: the Jackson 5, who filled the gap with their doppelganger hits like 'I Want You Back' and 'The Love You Save.') After the wait, he stunned everyone with There's a Riot Goin' On, his radically negative refusal to play the commercial game, with its low-fi beatbox avant-funk. It was the prototype for independent swerves like Radiohead's Kid A or Nirvana's In Utero — yet like those albums, it was a sales blockbuster, hitting home with an audience that idolized him for going his own way. 'Family Affair' is the best-known classic, with Bobby Womack's virtuoso blues guitar, in a heartbreaking tale of newlyweds falling apart. But it also has stunners like 'Spaced Cowboy,' sounding uncannily like Young Marble Giants with its basement drum-machine clank, before it builds into a cocky drug boast with ironic Wild West yodels. 'I can't say it more than once, because I'm thinkin' twice as fast,' Sly growls. 'Yodel-ay-hee, yay-hee-hoo!' But the toughest, bleakest moment is 'Africa Talks to You (The Asphalt Jungle),' where the chorus chants, 'Timberrrrr! All fall down!' 'I wrote a song about Africa because in Africa the animals are animals,' he told Rolling Stone at the time. 'The tiger is a tiger, the snake is a snake, you know what the hell he's gonna do. Here in New York, the asphalt jungle, a tiger or a snake may come up looking like, uhhh, you.' He switched gears with Fresh in 1973 — his most exuberantly upbeat funk, jumping right out with 'In Time.' It's as flamboyantly cheerful as Riot was hostile, which isn't to say it's any less brash in its confrontational spirit. 'Let Me Have It All' is the most openhearted love song he ever did, rhythmically and vocally. Yet it's also an album about drugged-out euphoria on the verge of crashing. 'If You Want Me to Stay,' with its drowsy pimp strut of a bass line, warns you not to be foolish enough to count on him or expect anything out of him — especially if you bought a ticket for one of those shows where he didn't turn up. After Fresh, his music suddenly fell off a cliff, with depressing comeback efforts like Small Talk, High on You, or Heard Ya Missed Me, Well I'm Back, with its faux anthem 'Family Again.' Everyone was still stealing ideas from Sly — most notably Miles Davis — but the man himself ghosted. The tabloids kept reporting the bad news: He was wasted on drugs, broke, living out of a car. His final albums barely got noticed, with smarmy titles like Back on the Right Track or Ain't but the One Way, ending with 'High, Y'All.' His final highlights came with George Clinton, his most outspoken disciple, on Funkadelic's 1981 The Electric Spanking of War Babies. 'FREE SLY!' Clinton declared in the liner notes, having recently gotten busted with Stone. Sly also shone on Clinton's 1983 robot-funk hit 'Hydraulic Pump,' from the P-Funk All-Stars' album Urban Dance-Floor Guerillas. 'Hydraulic Pump' was a prophecy of the Detroit techno to come, but it also turned out to be Sly's final moment of glory on wax. When Stone died on June 9, it was just a few days after the 51st anniversary of his most famous celebrity stunt: getting married onstage at Madison Square Garden, in a sold-out 1974 show. In so many ways, that wedding event was his farewell to his public life, as he became a reclusive figure for his final decades. 'Dying young is hard to take, selling out is harder,' he warned in 'Thank You (Falettinme Be Mice Elf Agin),' still just in his 20s. The ultimate epitaph for Sly is that he managed to avoid doing either. Yet the world never came close to forgetting about Sly Stone. The excellent Questlove documentary Sly Lives! (The Burden of Black Genius) was a reminder of why he still loomed so large, years after he'd seemingly said his goodbyes. You can hear that legacy everywhere, even in young punk rockers like Turnstile, who turned 'Thank You' into their own 'T.L.C. (Turnstile Love Connection).' 'Everyday People' has to be the only song that's ever gotten covered by both Tom Jones and Joan Jett. 'We gotta live together,' the song goes, even though its author made a point of living apart. But he went out as a musical revolutionary who owed the world nothing. Every goodbye he ever had to say was already there in 'Thank You': 'We began to wrestle, I was on the top.' Sly Stone defined that sense of lifelong struggle in his music. But he managed to turn that struggle into songs that will keep right on changing and challenging the world forever. The message in the music is clear as always — everybody is a star. Best of Rolling Stone Sly and the Family Stone: 20 Essential Songs The 50 Greatest Eminem Songs All 274 of Taylor Swift's Songs, Ranked


CBS News
5 days ago
- CBS News
Remembering Sly Stone and Brian Wilson
It happened this past week ... we learned of the passing of two giants of popular music: Brian Wilson, of the Beach Boys; and Sly Stone, frontman of Sly and the Family Stone. Musician Sly Stone, of Sly and the Family Stone, performs at the Woodstock Festival on August 17, 1969 in Bethel, New York. MichaelSly Stone Born Sylvester Stewart in 1943, he became "Sly" when a classmate misspelled his first name on the chalkboard. A gifted musician, by four he was singing on stage. He made his first recording at 9, and was working as a DJ when he formed a band in 1966. Just a year later, "Dance to the Music" launched Sly and the Family Stone – the first major group to include Black and White men and women – into super-stardom. Sly and the Family Stone perform "Dance to the Music": A string of hits followed in quick succession, including "Everyday People," "Family Affair," and "Hot Fun in the Summertime." But by the end of the 1970s, drug addiction and mental health issues had taken their toll. The band broke up, and Stone faded from the spotlight. The band reunited in 2006 when they were honored at the Grammy Awards. It would be the last major performance by a man whose style, social conscience, and revolutionary sound forever changed the course of pop music. Sly Stone died Monday in Los Angeles. He was 82. "Thank You (Falettinme Be Mice Elf Agin)" by Sly and the Family Stone: The Beach Boys (from left, Brian Wilson, Mike Love, Dennis Wilson, Carl Wilson, and David Marks) pose for a portrait with a surfboard in August 1962 in Los Angeles. MichaelBrian Wilson Then, on Wednesday, we learned of the passing of another musical genius, with an altogether different sound. Brian Wilson was born in California in 1942. In his teens, he (along with brothers Dennis and Carl, cousin Mike Love, and friend Al Jardine) started a band. Around that time Dennis started surfing, and as Brian told "Sunday Morning's" Anthony Mason in 2015, the rest, is history. "Mike and I started writing surf songs," he said. "But I never surfed, and he never surfed, either." "Did you feel the need to surf for any reason?" Mason asked. "No. I never tried it." "Surfin' USA," by the Beach Boys: But the Beach Boys' sonic palette of surf, sun, cars, and endless summers made them an indelible part of America's pop culture. Widely considered one of rock's greatest songwriters, Brian Wilson was 82. Brian Wilson/Tony Asher's "God Only Knows," from the Beach Boys album "Pet Sounds": Story produced by Liza Monasebian. Editor: Chad Cardin.