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Yahoo
09-06-2025
- Entertainment
- Yahoo
Sly & the Family Stone's 10 Best Songs (Staff Picks)
Funk, rock and soul maverick Sly Stone died at 82 on Monday (June 9). According to a statement from his family, the Rock and Roll Hall of Famer's passing came after 'a prolonged battle with COPD and other underlying health issues,' while he was surrounded by family and loved ones. More from Billboard Cardi B Stresses 'Music Is a Collaboration' While Accepting 2025 ASCAP Voice of the Culture Award The Doobie Brothers On 'Civic Duty,' 'Limitations' in Today's Music & Writing Songs With Charlie Puth Liam Gallagher Gushes About Oasis Reunion Drummer Joey Waronker: 'This Guy Is Special' '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 continues. That legacy is indeed a singular one, and he built most of it with his eponymous '60s and '70s group Sly & the Family Stone. With the band, Sly Stone both scaled the greatest heights of Flower Power utopianism and plumbed the lowest depths of Nixon-era disillusionment, with incisive lyrics, brilliant hooks and grooves that could be as lock-step tight or as meanderingly loose as the song called for. Over the course of their original run, Sly & the Family Stone scored three Billboard Hot 100 No. 1 hits, released at least two albums considered among the greatest of the entire rock era, and played one of the signature sets at 1969's iconic Woodstock festival. Though the band largely fell into disarray in the mid-'70s, and neither the Family Stone or its leader ever were able to quite recapture their peak prominence, the music lived on through subsequent generations — and could be heard sampled and recycled on major hits by Janet Jackson, LL Cool J, Cypress Hill, the Beastie Boys and countless other later acts. Below, Billboard rounds up our picks for Sly & Co.'s 10 all-time greatest — songs that captured turbulent times and spoke to universal truths, and remain just as potent over a half-century later. Opening with a drum roll and the shouted titular command, Sly & the Family Stone made sure their first masterpiece LP immediately snapped listeners to attention. But 'Stand!' is too melodic and empathetic to ever risk coming off didactic, with even directives like 'Stand for the things you know are right/ It's the truth that the truth makes them so uptight' delivered so tenderly it sounds like the band realizes it's not telling you anything you don't already know. And unlike too many protests, this one ends in unequivocal victory, as the song closes with a glorious parade of trumpets and jubilant 'na-na-na-na-na's. — ANDREW UNTERBERGER With lullaby organs and a drum groove so clipped and woozy it almost sounds like it's predicting J Dilla, 'Just Like a Baby' made it clear early in There's a Riot Goin' On that the Woodstock-era triumphalism of Stand! was well over. While even that album's angriest songs had energy and purpose to them, the band's uncertainty is felt throughout the narcotic groove and buried, often wordless vocals here, but with results just as spellbinding — and arguably even funkier. Future generations would agree, as you can hear traces of 'Baby' in everything from D'Angelo's Voodoo to Childish Gambino's 'Awaken, My Love!' — A.U. A Doris Day song from an Alfred Hitchcock movie might seem like unlikely material for a gospel-inflected funk cover, but Sly Stone never played by anyone's rules (even his own). Stone spent much of There's a Riot Goin' On and follow-up album Fresh tearing down the utopian hippie view of America he'd built in the '60s, and 'Que Sera, Sera' — which arrived on the latter album's side two – seems to be his shoulder-shrugging admission that just like everyone else, he ultimately has no idea what the hell is going on in this life. But when the funk is this mellow and the organ playing this heavenly, uncertainty doesn't sound so quite so scary. — JOE LYNCH Underpinned by a bold lead bass line, this 1973 hit that reached No. 12 on the Hot 100 features one of Sly's most impressive vocal performances, as he both growls and croons in due course to a girlfriend about what he needs to stay in a relationship. One of the most iconic basslines in funk, its genius is in its steady simplicity, allowing the organ, piano and horn flourishes to really breathe, and Sly's voice to shine, with no line delivered in the same way twice. Its parent album, Fresh, is one notorious for its overdubs, but even still 'Stay' has an improvisational feel, melding the backline rigor with the expressive fluidity that is a hallmark of great funk records. — DAN RYS Something of a thesis statement for the Family Stone, 'Family Affair' — which became the band's third and final No. 1 on the Hot 100 in late 1971 — is a more laid-back groove, with Sly's voice melting and oozing all over the track as he sings about sibling, parental and newlywed relationships, and what keeps them all together. Trading off vocals with his sister Rose, Sly keeps it simple, with a bass, rhythm guitar and keyboard holding down most of the track, a breezy wah-wah guitar providing flourishes here and there. But as with much of Sly's work, it's the sum of its parts that makes 'Family Affair' such an enduring cut more than 50 years later. — D.R. As the multi-racial, multi-gender Sly & the Family Stone emerged in the mid-'60s, its demographic composition wasn't the only radical thing about it – it also fused the worlds of R&B, soul, and rock and roll in ways that thrilled audiences, but confounded the suits. When the band's 1967 debut, A Whole New Thing, flopped, management told Stone it was 'too funky' and that he should 'just do something simple.' 'I said, 'OK, something simple, huh?'' Stone later recounted. That something simple: 'Dance to the Music,' which with its relentless rhythm section and direct lyrics, commands listeners to do just that. Stone would go on to make higher-concept music, but 'Dance To The Music' is a foundational text in psychedelic soul — and, perhaps more importantly, was a big enough hit that it afforded the ambitious musician the considerable creative freedom he would need moving forward. — ERIC RENNER BROWN Opening in medias rock, 'I Want to Take You Higher' is a blunt battering ram of blues, psych, soul and funk that was initially stowed away as the B-side to 'Stand!', but hit America's eardrums so hard that it went top 40 in its own right. This rallying cry is the sound of Sly Stone and his merry pranksters pushing James Brown's meticulously timed funk off its foundations, destabilizing it with the untethered energy of an off-the-rails rock n' roll jam session. The studio version feels like it might fling off into the ether at a moment's notice — and in concert (including at Woodstock), it often did. — J.L. For those rare times in life when there's no riot goin' on and nothing immediately pressing to take a stand over, there can simply be 'Hot Fun in the Summertime.' Sly & the Family Stone's most classic-sounding pop song — tone down a couple of those vocal ad libs and it could've easily been a Nat King Cole composition — remains an essential seasonal standard for its sun-tanned horns, nostalgic lyrics and impossibly breezy sway, one of the most topical bands of its era proving it could be be just as potent blissing out in the shade for two and a half minutes. But like all truly great good-time songs, 'Summertime' also comes tinged with the unmistakable sadness of knowing it's all too good to last: 'First of the fall, and then she goes back/ Bye, bye, bye, bye.' — A.U. This is the rare example of a band figuring itself out in a transitional period while still delivering its best work. Sly and the Family Stone achieved so much and evolved so quickly from 1967-69, it's no wonder that Stone felt compelled to craft a song that served as both a meta victory lap and farewell to his bright, buoyant first chapter before segueing into a lyrically and sonically murkier second act. But how many artists can write a song about their biggest, most beloved hits that's also better than damn near all of them? Larry Graham's slap bass gets a lot of the credit, but the tightly wound guitars, woozy horns and staccato vocals are equally hypnotic. — J.L. Sly & The Family Stone's first of three No. 1s on the Billboard Hot 100 was more than a massive hit – it was a reflection of contemporary American society. Released in November 1968, as one of the most tumultuous years in American history drew to a close, 'Everyday People' uses near-childlike simplicity ('There is a blue one who can't accept the green one/ For living with a fat one, trying to be a skinny one') to urge Americans to come together despite their differences. The song had an immediate impact and a lasting influence, from helping to mint a new catchphrase ('different strokes for different folks,' originally popularized by Muhammad Ali and later the inspiration for the title of the TV show Diff'rent Strokes) to featuring an early instance of the slap-bass technique. And few moments in Sly's catalog are as singularly stunning as when he and his bandmates arrive at the first chorus shout: 'I am everyday people!' — E.R.B. Best of Billboard Chart Rewind: In 1989, New Kids on the Block Were 'Hangin' Tough' at No. 1 Janet Jackson's Biggest Billboard Hot 100 Hits H.E.R. & Chris Brown 'Come Through' to No. 1 on Adult R&B Airplay Chart
Yahoo
09-06-2025
- Entertainment
- Yahoo
All 14 Lil Wayne Albums, Ranked (Staff Picks)
Over the weekend, Lil Wayne shook the game up once again by dropping off his latest album Tha Carter VI. To celebrate the release, Weezy also hosted a blockbuster show at New York's Madison Square Garden on Friday (June 6), where he ran through hits both new and old, flexing his dominating catalog in a star-studded 70 minute showcase. It was a glorious reminder of Tunechi's unparalleled greatness and hard work. From his early days as a Hot Boy, to his legendary mixtape run, to his groundbreaking studio records, Wayne's awe-inspiring grind resulted in one of the greatest outputs in hip-hop history. More from Billboard Angie Martinez Speaks on Her New 'IRL' Podcast and the Importance of Vulnerability in Her Interviews Here's What Advice Kendrick Lamar Gave Ray Vaughn During His Battle With Joey Bada$$ Cardi B Stresses 'Music Is a Collaboration' While Accepting 2025 ASCAP Voice of the Culture Award Over the years, Weezy has evolved into a genre-defining figure, and his catalog as a result is a wild ride filled with exorbitant highs (Tha Carter III) and crushing lows (Rebirth). Not every Wayne album is perfect — and from our first handful of listens, Tha Carter VI might unfortunately be one of his more imperfect releases — but the New Orleans spitter has made a career out of taking creative risks regardless of the outcome, and that needs to be applauded. Even when these risks haven't paid off, it's undeniable that Wayne has forever changed the course of mainstream rap because of them. Whether you're a longtime fan or not, the breakdown below of Wayne's albums aim to celebrate the highs, acknowledge the missteps and explore how Weezy's music reflects a career forever defined by resilience, reinvention and a relentless amount of unparalleled lyricism. Let's dive in and see how the legacy stacks up, one album at a time. While Lil Wayne should be praised for his experimentation, Rebirth's risky venture down a rock-and-roll-trodden path didn't garner the best results. 'Drop The World' was the only major success, as Weezy's Auto-Tuned drizzlings and occasional guitar riffs couldn't save the record from flop status. Regardless, it reaffirmed his status as a creative risktaker, and you can't fully hate on Wayne's earnest-if-dated attempt to try and shake up the music industry snow globe. (Weezy did rap 'Confidence is the stain they can't wipe off' on 'Drop.') His commitment was and remains endearing. — MACKENZIE CUMMINGS-GRADY Unlike Tom Cruise's Mission: Impossible franchise — which only seems to get better over time — the same can't be said for Lil Wayne's beloved Carter series. On Friday (June 6), Wayne unloaded his sixth entry and whiffed entirely. The lackluster showing isn't solely his fault — he flashes glimpses of vintage, Martian-level creativity on the BigXthaPlug-assisted 'Hip-Hop' and the ovation-worthy outro 'Written History.' But what derails the entire experience is his porous beat selection: 'Peanuts 2 N Elephant,' produced by Lin-Manuel Miranda, is a full-blown trainwreck, while 'If I Played Guitar' is a putrid rehash of 'How to Love.' Unless Wayne brings in better producers, he may need to retire the Carter name before it further muddies the legacy of this legendary series. — CARL LAMARRE While far from Wayne's strongest album, FWA makes sense under the context with which it was created. Made in 2015, during a time when Birdman appeared to holding Carter V hostage, FWA was created as an exclusive under the Tidal streaming service, with which Weezy was a fellow 'artist owner.' This means that FWA was created either with demos or under duress, either way leading to an uneven project filled with solid bars over solid beats. Memorability never felt like the goal of FWA, with songs like 'London Roads' and 'Murda' merely proving ghostly echoes of Carter IV's past. Instead, the set served as more of a necessary reminder that Weezy was still here, and largely succeeded at satiating his restless fans for a bit longer before the Carter V could finally see the light of day later in the decade. — M.C.G. 2002's 5000 Degreez showcased a young 19-year-old Lil Wayne finding his voice. The tape was full of ripe potential, with songs like 'Where You At' and 'Way of Life' offering glimpses of the hip-hop powerhouse Tunechi would soon become. But 5000 Degreez felt shrouded in a fog of monotony: The tape was obviously meant as an ode to Juvenile's 4000 Degreez, but what emerged in Weezy's version was a lot of similarly constructed club records that bled into one another. Pockets of greatness did emerge through that fog, but clearly the best was yet to come. — M.C.G. I Am Not a Human Being 2 was almost destined to be a slump, considering even Weezy himself derided the project as a 'bum-ass album' before its 2013 release. The standout singles ('Love Me', 'Rich as F—k,' 'No Worries,') were the only particularly memorable tracks, making some solid impact in clubs and on radio. Even then, these were far from Weezy's greatest lyrical accomplishments, and at times felt almost satirical ('P—y in my face, I ain't got no worries'). Every other song came and went as quickly as a gentle breeze, and a major days-long health scare for Wayne lessened the work's commercial impact even further. — M.C.G. The original I Am Not a Human Being came at a strange time in Weezy's career. Released right before his own release from jail on a gun possession charge, the album felt immeasurable in terms of what it meant for Wayne's career at this moment. And the Drake-assisted four-peat of 'Gonorrhea,' 'With You,' 'I'm Single' and 'Right Above It' all stuck the landing, capturing the waning Young Money chemistry at one of its last high points. But the album's other tracks — even some of the ventures with Nicki Minaj — felt undercooked, considering how high the stakes were for Wayne's career. Would Weezy emerge from jail able to return to his era of dominance? Would he fall back and recalibrate? I Am Not a Human Being, which included songs mostly recorded before his eight month Rikers Island stint, did not offer any clear answers. — M.C.G. Emerging after the pressure surrounding Carter V's release had finally lifted, 2020's Funeral served as a playful return to form for Weezy. Tapping back into a breakneck level of efficiency seen during his prolific post-Carter II mixtape run, Wayne raps about nothing in particular with a devilish glint in his eye. Songs like 'Bastard (Satan's Kid)' and 'Line Em Up' cover the usual array of braggadocious Wayne topics — being the best, smoking that loud, eliminating the opps — but it's clear he feels a sense of relief while he raps. Wayne can't seem to get the bars out fast enough. Yes, Funeral is bloated, and its slower songs drag the tape down to a slog, but hearing Wayne have fun again after the emotional and legal turmoil surrounding the Carter V made the highs of Funeral feel very high. — M.C.G. Tha Block Is Hot will always have a nostalgic place in the heart of any longtime Weezy fan. Songs like 'Tha Block Is Hot' and 'Loud Pipes' will always get a party going, and 'F—k tha World' will always cause some diehard Wayne fan to step out of the woodwork and rap it word-for-word. Wayne's 1999 debut was quickly overshadowed by much of what came after, but Tha Block Is Hot is filled with the bristling potential of a future rap superstar. — M.C.G. Arguably his most underrated album, 2000's Lights Out showed glimpses of Wayne's superstar potential and songwriting prowess. It's also the first album where he starts to hint at Jay-Z's influence — specifically on the track 'Lil One,' where he and Baby perform their own version of Jigga and Memphis Bleek's 'Coming of Age' series. Then, there's the standout Hot Boys posse cut 'Shine,' which proved once again that Weezy and Cash Money weren't just a Southern Rap phenomenon: It was a favorite in the New York City area back then, getting major play in this writer's car specifically. — ANGEL DIAZ From the legal drama, to the personal turmoil between Birdman and Weezy, to the blockbuster run of Carter II through IV, The Carter V's hype was impossible to match by the time it dropped in 2018. Still, the album met the colossal moment to the best of its ability: 'Uproar' remains a classic, and gave Wayne his first lead major radio hit as a lead artist in years. Meanwhile, 'Mona Lisa' made good on the long-awaited sparring match between K-Dot and Weezy with a tongue-twisting flurry of a song, and Nicki Minaj offered an excellent R&B feature on 'Dark Side of the Moon.' Still, there were only a few obvious standout moments across the album, which is surprising considering its nearly hour-and-a-half runtime. While it's far from Weezy's best Carter entry, Tha Carter V was an undeniably solid return for Tunechi. — M.C.G. The album that started it all. While Tha Block Is Hot announced Weezy's arrival, Tha Carter announced his candidacy for Greatest Rapper Alive status. With Mannie Fresh cooking up some of his most gourmet instrumentals ever, Lil Wayne completely shifted his style of rapping to a braggadocious flair heavily inspired by the elegance of Jay-Z. 'Go D.J.,' 'Earthquake' and 'This Is The Carter' are just a few of the classics that appeared on the project, and while even better Carter editions would soon follow, the first served as the rumble of thunder in the distance, signaling that a massive storm was coming. — M.C.G. After clinching a 'three-peat' with his trio of Carter albums, Wayne salivated at the idea of securing another game-winning performance on Tha Carter IV. Tracks like '6 Foot 7 Foot,' 'Nightmares of the Bottom,' 'She Will' and 'John' showcased the New Orleans werewolf still operating near his peak. But the album lacked the horsepower that made Carter II and Carter III hum, and though it delivered another near-million in first-week sales, a few unfortunate missteps — including his limp shots at Pusha T on 'It's Good' and his drowsy, insipid take on romance in 'How to Love' — ultimately soured Tha Carter IV's potential to match its two predecessors. — C.L. After establishing himself as one of hip-hop's most cerebral lyricists on Tha Carter II, Wayne had his sights set on mainstream dominance with Tha Carter III. Unlike its predecessor, Wayne's stab at pop superstardom was deliberate. Songs like 'Lollipop' and 'Mrs. Officer' were melodic ear candy, while records such as 'A Milli' and 'Mr. Carter' fortified his lyrical firepower. Wayne's transformation from Hot Boy sidekick to Rap Goblin was complete when he decoded his genius on this 2008 masterwork, becoming hip-hop's most undeniable typhoon. — C.L. Sometimes, a rapper enters a zone that few have been able to enter. Fresh off the promising first entry in Tha Carter series, Wayne entered rarified air and delivered his first classic album, which then put him on an ascent that he's just now recently coming down from. Tha Carter II officially made Lil Wayne a superstar, putting him in the conversation for Best Rapper Alive with songs like 'Tha Mobb,' 'Money on My Mind,' and 'Hustler Musik,' all of which remain classics in his catalog. And while those tracks foreshadowed what he had up his sleeve lyrically with his much talked about mixtape run that came after, a record like 'Shooter' featuring Robin Thicke showed that he also had the mainstream appeal — which we would see come to a head on the massive third Carter album, when he sold a mind-boggling one million copies during its first week. Tha Carter II was his launching pad into a new stratosphere. — A.D. Best of Billboard Chart Rewind: In 1989, New Kids on the Block Were 'Hangin' Tough' at No. 1 Janet Jackson's Biggest Billboard Hot 100 Hits H.E.R. & Chris Brown 'Come Through' to No. 1 on Adult R&B Airplay Chart
Black America Web
23-05-2025
- Entertainment
- Black America Web
Up & It's Stuck: Cardi B Set To Receive The ASCAP Voice Of The Culture Award
Source: Courtesy / ASCAP Her resume just keeps getting longer! Yesterday (May 21st), the American Society of Composers, Authors and Publishers (ASCAP) announced that multiplatinum, Grammy-winning superstar Cardi B will be honored with the distinguished ASCAP Voice of the Culture Award. The Bronx native made history in 2020 as the first woman to receive the esteemed ASCAP Rhythm & Soul Songwriter of the Year Award two years in a row. This added to her multiple ASCAP accolades, including eight ASCAP Pop Music Awards and a whopping 23 ASCAP Rhythm & Soul Music Awards. Five years later, the world-renowned rapper returns to accept the ASCAP Voice of the Culture Award, which is presented to ASCAP members who have had a major influence on music and culture, to recognize their success as creators and change makers. Last year, 8x Grammy Award winner Usher was the recipient of the distinguished award. Cardi B is among the most significant musical artists of all time, regardless of genre, gender or generation. Among her seemingly endless list of accomplishments, she stands as the highest-certified female rapper of all time on the RIAA's 'Top Artists (Digital Singles)' ranking, the female rap artist with the most RIAA diamond certifications, and the only female rapper with multiple billion-streamers on Spotify. On the platform, her chart-topping, Grammy-winning, four-times RIAA platinum-certified debut album, Invasion of Privacy , remains the most-streamed album by a female rap artist to date. All 13 tracks on Invasion of Privacy are now certified at least platinum, and the smash 2018 album also includes the history-making diamond-certified 'Bodak Yellow.' With an extensive list of awards, nominations and high-profile honors, Cardi B's additional nods include nine total Grammy Award nominations, eight Billboard Music Awards, six Guinness World Records, five Spotify One Billion Streams Awards, six American Music Awards, four MTV Video Music Awards, three iHeartRadio Titanium Awards, six BET Awards, 14 BET Hip Hop Awards, inclusion on TIME 's 'TIME100: The 100 Most Influential People of 2018,' being named Entertainment Weekly 's 2018 'Entertainer of the Year' and Billboard 's 2020 'Woman of the Year,' along with countless other triumphs. In 2021, she was named Playboy 's first-ever Creative Director in Residence and founding member of Playboy 's creator-led platform. Since then, Cardi B has been featured on chart-topping singles including platinum-certified 'Tomorrow 2' with GloRilla and gold-certified 'Put It on the Floor' with Latto. In 2024, Cardi B came out swinging with dual releases 'Like What (Freestyle)' and 'Enough (Miami),' before collaborating on Rob 49's 'On Dat Money' and Megan Thee Stallion and GloRilla's 'Wanna Be (Remix).' 'Cardi B has left an indelible mark on the culture of hip-hop by redefining and challenging the norms for women,' said ASCAP Chairman of the Board and President Paul Williams. 'Having broken through countless barriers with her unapologetic authenticity and talent, she continues to use her voice to advocate for and inspire others, a true testament to her undeniable impact. We are proud to present Cardi B with this year's ASCAP Voice of the Culture Award.' Cardi will be presented with the award at a private, invitation-only event celebrating ASCAP's top hip-hop, R&B and gospel songwriters on Sunday, June 8th in Los Angeles. HUGE CONGRATS TO CARDI B! SEE ALSO Up & It's Stuck: Cardi B Set To Receive The ASCAP Voice Of The Culture Award was originally published on
