Etched In Sly: Sylvester "Sly" Stewart

One word summarizes the quintessence of this performance by brother Sly and that is: PURE.

To go further, I would say the very word could abbreviate Peace, Unity, Respect, and Excitement which are all on immediate blast from the onset.

Most who have snapped a finger, stomped a foot, or knocked a neck out of alignment courtesy of Sly and The Family Stone may have a special attachment to one of his most memorable singles "If You Want Me To Stay".

The lyrics are written or it can be said "melodically spoken" with intent to express his impending departure.

From whom or from what I will safely touch that base later on.



As is the case with Glen Goins and the rest of the members of Parliament Funkadelic, the krumpin' and clown dancing montage from the documentary "Rize", Bootsy Collins, Fela Kuti and Soul Brother Number 1 James Brown, we bear witness to the internal genetic and cosmic alliance resulting in the transformation from body and spirit into instrument.

An instrument is a means whereby something is achieved, performed or furthered.

When we experience greatness in performance and action or witness an encounter of an overwhelming kind, it sparks both a chemical and electrical stimulation internally and externally.

That outward muscle contraction followed by the erection of hair follicles is commonly referred to as "the chills", "goosebumps" or "goose flesh". A soulful vocal riff, a horrific or erotic memory, any physical or artistic expression or movement can be instrumental in giving us "the chills".

Internally, the stimulus is chemical and spiritual and we draw from this strength as a mechanism for escape. We (as in the artist, audience or whomever prescribes to the method) psychologically gravitate, meditate and levitate (so to speak) into a state of ecstasy when involved in or receiving "The Moment".

This WAS one of these "moments".

After I watched the footage browsing through Youtube, I believed this clip was in definite need of a forensic analysis from the effect it gave me.

The song hit the world in 1973 so this performance had to be either in that year or early '74. Sly also had superstar accompaniment in his band The Family Stone, none of which you see anywhere on stage (a rarity).

There are various reasons and perceptions why he was by himself here and the "triple entendre" of the song itself is what makes its impact so strong.

Look behind the piano to see the letters S-L-Y curved together. I would say that was elaborate décor for a solo performance at a piano and for a song that lasts a little over 2 minutes.

I found the symbolism to represent ultimate respect as an artist and the show's host Mike Douglas and his producers thought enough of him and his celebrity by honoring his presence with that grandiose signage.

He starts by counting off then stomping his right boot to establish "the foot" for the studio band to follow and he proceeds to tell them "faster faster".

Already he shows where he stands in terms of bringing the outer elements into his realm ala George Clinton in "Swing Down".

He could have easily conformed to a slower tempo but to reach his level of pleasure, he navigated the musicians to speed up the measurements to reach the space he was destined to explore.

His voice, demeanor, presence, ease, sense of satisfaction and his display of love is so prominent in a matter of only 145 seconds.

Here are the words to the song. I recommend you watch the video AFTER reading.



If you want me to stay
I'll be around today
To be available for you to see
I'm about to go
And then you'll know
For me to stay here I've got to be me
You'll never be in doubt
That's what it's all about
You can't take me for granted and smile
Count the days I'm gone
Forget reaching me by phone
Because I promise I'll be gone for a while

When you see me again
I hope that you have been
The kind of person that you really are now
You got to get it straight
How could I ever be late
When you're my woman takin' up my time
How could you ever allow
I guess I wonder how
How could you get out of pocket for fun
When you know that you never number two
Number one gonna be number one

I'll be good
I wish I could
Get this message over to you now
When you see me again
I hope that you have been
The kind of person you really are now
I'll be so good
I wish I could
Get the message over to you now

The performance video is below


(video courtesy of thebadcause)

If you watched the video, count how many times you smiled or said "he's so natural, he's so raw/real/funky/". We shared a private moment publicly with a multitalented mastermind.

He gets up and walks away and claps for himself and to the audience.

You know why he did that?

That performance was so incredible and righteously together because that was the day Sly hypothetically "left" the industry, the stress of his label, the pushing & pulling from creative and social tug-of wars, the band issues, the relationships that tarnished from them all and the public-driven perceptions of whatever "absence" or "hiatus" he embarked upon shortly occurred right after this performance.

He escaped from himself.

His smile during his departure was one of relief also with the underlying message of "I've made my contribution to the world now I'm leaving the building".

If any of you have listened to the final words of the studio recording on the Fresh album/CD, he says "I'm through, man". This was a visual example of the exact statement.

Check out the end of this video when Mike Douglas says, "Thank you very much. Please stay. Because I know you haven't done any talk shows and I'm so pleased that you're here. I really am.". Such a gracious remark from a great talk show host and it's clear that Sly shows outwardly how he felt that.

"If You Want Me To Stay" had three absolute meanings:

1. Reportedly, this was a song inspired after an argument with his girlfriend/wife Kathleen Silva. He wrote a note that included most, if not all of the words we have sang for over 30 years explaining he will always be who he was, is now, and always will be if they are to stay together.

2. His environment which came as an accessory to fame. Everyday People, the influences (on whatever level), his band members (and their lives/personalities), "woodworkers" or "hangers-on" including family. All that encompassed every lyric he penned. It was about the psychic vampirism that success and money create.

3. The industry-the executives (non-artists) surrounding the art (artists) has always been a bitter pill to swallow. The politics, public opinion, censorship, and ultimately prevented from being allowed "to ride" (see part 1) is what also can intoxicate the spirit of brilliance and genius.

There isn't much to find in researching the legacy of Sly and The Family Stone beyond their timeless recordings between 1970-1974.

He has resurfaced and was recently spotted doing impromptu engagements as well as granting a few interviews so stay tuned for any developments musically from this genius.

Please believe this was yet another testament to self-liberation as you saw a brilliant man freely release from the World that "made" him "something else" after we were initially thanked for lettin' him be his self……….. again.

Mr. Wone