30. Soundgarden — Thank You (Falettinme Be Mice Elf Agin)
Soundgarden performed this sludgy Sly cover on a John Peel session in 1989, five full years before they became superstars with Superunknown. A few years ago, they gave it a proper release on the box set Echo of Miles. Guitarist Kim Thayil said: “Sly Stone songs have meant a lot to me since I was a kid growing up in Chicago. Larry Graham’s bass playing was influential on [Soundgarden’s first bassist] Hiro Yamamoto’s style. We would sometimes jokingly refer to our version of this classic song as Sly and the Family Sabbath.”— Ray Padgett
29. World Party — Stand!
The late Karl Wallinger did not always respond well to accusations of ’60s revivalism (there were lots of things he did not respond well to, he was that sort of musician) but he revered the best music of that era. And no one was producing better music than Sly and the Family Stone during that period, so naturally Wallinger and his World Party were vocal in their appreciation of it. This live version from World Party’s Arkeology box set is exuberant in its love for the source material, showing how different strains of exquisite musicianship can illuminate the work. — Mike Tobyn
28. Taj Mahal — Everyday People
It takes somewhat of a giant to strip out the positive pop vibe of “Everyday People,” but, then again, Taj Mahal is a bit of a giant. By scuzzing up the perfect production a bit, Mahal takes away the gloss, replacing it with a mentality that smacks of a roadside bar, the chance finding of something special, away from any expectation. Had Sly lived longer and healthier, maintaining and nurturing his talent into his later years, is this how he would have sounded? I like to think so. But this performance is all the more remarkable, conceived, as it was, for Hippety Hop, a compilation of songs aimed at children. If that makes me a child, yes, I’ll buy that! — Seuras Og
27. Robert Randolph & The Family Band — Thankful ‘n Thoughtful
“Thankful ‘n’ Thoughtful,” from what is usually regarded as the last great Family Stone album, Fresh, very much has that Riot-era sound, with the prominent drum machine and Sly’s seemingly improvised vocals (backed by a contemporary funk rhythm section and the usual Family Stone prominent horns and backing vocals). Legendary pedal steel guitarist Robert Randolph’s nearly instrumental cover leans heavily into funk, with a really heavy deep bass sound and groovy drums. But it’s full-on funk-rock, as Randolph’s playing is the showcase, playing with Sly’s vocal line and adding fills before going full solo for much of the song. Backing vocalists occasionally sing the words in the title, making it technically not an instrumental cover, event though that’s the focus. Randolph’s prodigious talent is on full display here, while The Family Band keeps a funky feel, which is very much their own contemporary version and not the Family Stone style. — Riley Haas
26. The Beach Boys — Hot Fun in the Summertime
Sometimes a cover sounds like it must be the original and that’s often because it’s so good it’s become the seminal version. More rare is the cover that somehow feels like it’s taking you back in time, and especially rare is one that isn’t doing it as a gimmick. In the ’90s, The Beach Boys created a perfectly lovely Beach Boys song out of the funkiness that is Sly and the Family Stone’s “Hot Fun in the Summertime Time.” Knowing what was to come, a fresh listen to Sly’s version reveals that the opening piano, shuffling beat, and violin in the original actually has a nondescript Beach Boys sound. It’s very straightforward with some barely noticeable jazzy piano up until the horns hit. The Beach Boys sound as if they grabbed that first verse, slowed it down a bit for the sleepy island sound they were aiming at, and turned it into a full-length song. It’s not nearly as dynamic as the original, but it ends up as a great track to throw on at the family barbecue this July. — Mike Misch
25. Christian McBride — Family Affair
Right after Sly died, Tom McDonald posted an excellent “Five Good Covers” piece about “Family Affair,” so read that, and I won’t have to repeat all that he said about the song. But one genre that wasn’t covered in Tom’s piece was acoustic jazz, and we rectify that with this version from bass master Christian McBride’s 1998 album A Family Affair, which mixes originals with funk and soul covers. (Note that this is the second consecutive “Best Covers” piece that I have written about McBride.) It’s a propulsive, swinging take, with McBride’s supple bass taking some of the lead, but mostly underpinning the crack soloing from Tim Warfield on tenor sax and Charles Craig on piano. — Jordan Becker
24. School of Rock — Dance to the Music
Three years ago, a group of students from a Pittsburgh branch of School of Rock set out to tackle a towering and iconic piece of funk history: “Dance to the Music.” And the original 1967 psychedelic-soul anthem is no easy feat to pull off musically. It’s bold, borderline eclectic, and packed with instrumental lines and belted vocal riffs. So, what could a bunch of teens do with a tune as famous as this one? As it turns out: a lot
This cover, performed at Retro City Studios, is rich and virtuosic, and has it all. From lead vocals to backup harmonies, guitars, bass, keys, drums (and yes, even a tambourine), the instrumentation had been perfectly replicated. Perhaps the most impressive part of this “Dance To the Music” cover is the joyous and abundant energy that this 10-piece student group brings to the table. The original song was intended to break down social barriers and to encourage celebration. We think Sly would be proud, given that the camaraderie is apparent inside this gem of a cover. — Aleah Fitzwater
23. Jeff Buckley — Everyday People
Sly Stone’s autobiography Thank You (Falettinme Be Mice Elf Agin) is a remarkable document. He was one of the characters of the age, creating and shaping work for the time and generations beyond. Stone also does not gloss over the bad decisions that he made, and the bad decision-making processes that got him to those wrong places. But Stone and his co-writer cannot get across an understanding of what it is to be a genius, but be unable to exercise it. You have had, and could have again, the chance to make some of the best music of all time, but for the moment you lack the will or control to do so.
None of us are likely to be in that position, and Stone himself cannot explain it for us mortals. The closest that we might get is this Jeff Buckley version of “Everyday People.” No big band to wrangle or control, just your own resources to try and corral some a truly memorable song. Mournful for the past that created the big sound. Hints of optimism that those good times might return. But melancholia for the now. — Mike Tobyn
22. The Pastels — Everybody Is a Star
If the Sly original, featuring multiple members of the Family Stone on vocals, feels a little DIY at times, The Pastels’ retelling of “Everybody Is a Star” takes the pencil outline of a song and tries it again in crayon. This song is a lullaby by way of Ween: the vocals in particular have a hazy effect added that feels like a psychedelic trip but are surrounded by unrelated melodies and wandering horns in the background. Trying to move this many pieces around can be a mess, but the Pastels keep the song simple enough and pleasant enough that the sound never crosses over from pleasantly confusing into outright discordant. — Mike Misch
21. Peter Frampton Band — If You Want Me to Stay
Peter Frampton (and the whole Peter Frampton Band) are in very fine form on an instrumental romp through Sly’s final hit single. Recorded in 2021, it’s a straight-up rock number treatment, with no pretensions or antics (or vocals). The band doesn’t aim to match the Family Stone’s level of funk, and Frampton isn’t out to prove he can still make the guitar come alive the way he did in the ’70s. Frampton knows he’s pretty much everyday people these days, but he shows his fingers can still dance to the music. — Tom McDonald
