20. Eddie Jefferson — Thank You (Falettinme Be Mice Elf Agin)
Eddie Jefferson, born in 1918, was best known as an innovator and popularizer of “vocalise,” setting lyrics to instrumental compositions. His 1975 album Things Are Getting Better, in addition to versions of songs written by jazz greats Miles Davis, Cannonball Adderley, John Coltrane, Charlie Parker, Dizzy Gillespie, Eddie Harris and James Moody, includes his interpretation of “Thank You (Falettinme Be Mice Elf Agin).” Jefferson’s version is, as expected, jazzy, and exuberant (and he makes sure to pronounce every word of “for letting me”). Not surprising for a man best known for adding lyrics to other people’s songs, most of Jefferson’s cover consists of new lyrics giving thanks for the music of other jazz musicians, including Coleman Hawkins, Lester Young, Sonny Stitt, James Moody, Dexter Gordon, and John “Dizzy” Gillespie. And props to Joe Newman for his trumpet solo. — Jordan Becker
19. Bootsy Collins ft. Larry Graham, Branford Marsalis and Uché Ndubizu — WantMe2Stay
The interplanetary cosmology of P-Funk may well depend on wormholes to work. How else can we explain them? These short-lived (theoretical/real?) constructs allow knowledge and matter to transfer across otherwise unbridgeable gaps. That may explain the eclecticism of the work. This retitled version “If You Want Me Stay” brings artists of three musical generations and several genres together. How else can you explain a young Nigerian-American singer and rapper trading licks with Sly’s bassist, another world-leading four-stringer holding the groove together, with a jazz legend of intermediate age providing cosmic interventions? Wormholes. — Mike Tobyn
18. Charles Wright & the Watts 103rd Street Rhythm Band — Everyday People
“Everyday People” had a groove to it that was slow and steady, but the song was clearly more about bringing the lyrical message across. Charles Wright & the Watts 103rd Street Rhythm Band did not share that delivery style. They give it an itchy rhythm guitar and piping horns. If anyone were to sing it, I would want it to be James Brown – this is directly up his alley. — Patrick Robbins
17. Susan Tedeschi — You Can Make It If You Try
On her Live from Austin, TX album from 2004, Susan Tedeschi opens with the deep groove of Sly’s “You Can Make It If You Try” –a surprising move, but one that works wonders. Tedeschi’s take on Sly’s R&B piece is missing the horns and the backing vocalists that define the original, and yet it feels as driven and as full as can be. By the time she recorded the live album, Tedeschi was a proven blues singer and guitarist, but that particular opener makes a statement about there being more in store for her devoted following, more dimensions to explore. To get a sense of her musical and emotional range, consider that the same live recording closes with John Prine’s wistful “Angel from Montgomery.” How many performers can go from Sly to Prine in the same show? — Tom McDonald
16. Aretha Franklin — Everyday People
1991 is not exactly prime-Aretha era. And the sound is as dated as the music video, Aretha trying to hang with the New Jack Swing kids. Hell, the first words she speaks are “Yo gang. Let’s kick the ballistics” – a literal quote from current Wesley Snipes and Ice-T action film New Jack City. Flavor Flav is in the music video, because of course he is. It doesn’t bode well. But I’m a sucker for aging artists trying to keep up with the kids (I love ’80s Dylan, after all). So for me, Aretha’s energy and enthusiasm on her Sly Stone tribute overcomes all the ridiculousness. — Ray Padgett
15. Lonnie Smith — Stand!
It’s 1971: Ron Carter is on bass, Billy Cobham on drums–two giants on their instruments who didn’t cross paths often. That’s reason enough to give this a listen. Dr. Lonnie Smith leads the session on organ and clavinet. It’s long, it’s jammy, it’s psychedelic soul-jazz with deep grooves and spaced-out improvisation, heavy on Latin funk percussion, and rich in saxophonic splendor. We can safely say this rendition departs from Sly Stone’s original just a little bit.
Sly’s impact on jazz-fusion was undeniable and this song testifies to this. It’s not the earliest cover of “Stand,” but it’s definitely the longest, and likely the strangest. The piece captures the state of jazz in 1971—bold, intense, all melding forms and breaking boundaries. — Tom McDonald
14. Booker T. & The M.G.’s — Sing a Simple Song
Booker T. & The M.G.’s had plenty of self-composed hits, but their covers had even further appeal. As they specialized in instrumental music, anytime they covered the chart singles (and albums) of the day, they were giving a whole new look at the songs. “Sing a Simple Song” may have been ironically named for an instrumental, but there was nothing ironic about the way the band handled it, finding a groove of soul that carried from Memphis to California and points beyond. — Patrick Robbins
13. Al Jarreau — Somebody’s Watching You
If anyone could ever have been said to dance or paint with their voice, it was Al Jarreau. No borders, no rules, Al just ran riot over every song he sang, especially on his first few albums, when his delivery was set at maximum, virtuosic nuttiness. This 1976 cover of the previously chill and seriously groovy “Somebody’s Watching You” is riotously fun. It’s just Al freebird-ing everywhere, every minute, crowing, cooing, scatting, wailing, painting and dancing. “Shady as a lady in a mou-ou-ou-stache” – sing it Al. — Hope Silverman
12. Red Hot Chili Peppers — If You Want Me to Stay
Freaky Styley was only the second Red Hot Chili Peppers album, and it saw the band still finding their way, moving from crawling to toddling. George Clinton produced the album, and his presence rubbed off on the band. Sly Stone had played on a Funkadelic album just four years earlier, so it would make sense if Clinton suggested the band cover “If You Want Me To Stay,” Sly’s last big hit. But no, it was Anthony Kiedis who had loved that song since junior high. “He’s another one of my all-time favorites,” Kiedis said. “I love him to the day he dies, just because he’s written some of the most beautiful music ever and he played it with such conviction.” — Patrick Robbins
11. Miki Howard — Thank You For Talkin’ To Me Africa
Miki Howard doesn’t make us wait as long for her vocals to kick in, whereas the original gives us almost two minutes of suspense. Jumping right into the “thank you”s makes this version more compressed and the singing-to-groove ratio larger, yet the unhurried smoothness of the original perseveres. R&B flairs include a give-and-take between the bass and the piano as well as vocal punches as the song winds down. This version’s storyline is cut and re-collaged together; earlier verses come later, later verses get moved up, but those “thank you”s still remain as the song’s anchor. — Sara Stoudt
