SLY AND THE FAMILY STONE — Fresh (review)

SLY AND THE FAMILY STONE — Fresh album cover Album · 1973 · Funk Buy this album from MMA partners
4.5/5 ·
js
Well known amongst aficionados of the funk, Sly and the Family Stone’s “Fresh” took the funk in a ‘fresh’ new direction. Instead of basing the jams on a repeating melodic bass line, Sly and his crew open up the texture and feature a structure where all the musicians interact with short little riffs and accents that intersect in sometimes mind boggling sound kaleidoscopes. The painting term, ‘pointillistic’ could apply here, in which many small events stand on their own to create an ensemble whole. Not everything on here is advanced scientific future funk, Sly’s old school good times RnB still shows up on a few tracks, but for the most part, “Fresh”, holds up to its name with some exciting new directions in music.

This album takes syncopation to new levels, which makes it surprising that the drummer on board, Andy Newmark, is a rock session drummer not usually known for playing in this style. How well he performs is somewhat mysterious as he is mixed very low and his playing is sometimes assisted by a drum machine. Its up to the other players to produce the timing to pull this off and they do a great job, particularly bassist Rusty Allen, who had some mighty big shoes to fill when highly influential and innovative original bassist Larry Graham left to start his own band. How good the rest of this ensemble is at finding their place in the mix is on full display on the album opener, “In Time”, cheekily named as the musicians stay in time while adding little hits and riffs that never collide and always surprise as we wonder how do they do this.

Lyrically this album is also a whole new bag for Sly as he leaves behind the feel good anthems of his late 60s work and embraces the ambiguities of the 70s. Many of these songs feature abstract word play that might be hard to pin down, but can still be interesting and amusing. Musically Sly also introduces new structures in which one rhythmic idea repeats for the whole song without any need for verse/chorus type constructs. When applied correctly, this sort of African approach carries a lot of strength. Most of these tracks are excellent, but some might take exception to Sly’s over wrought vocals on “Que Serra Serra” and “Let Me Have it All”.
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