Everybody Is a Star Sly and the Family Stone

		I Want To Take You lot Higher	five:22
		Everybody Is A Star	3:00
		Stand up!	3:08
		Life	2:58
		Fun	2:xx
		You Can Make It If Yous Try	3:39
		Trip the light fantastic To The Music	2:58
		Everyday People	ii:20
		Hot Fun In The Summertime	two:37
		K'lady	2:44
		Sing A Simple Song	4:47
		Thank You (Falettinme Exist Mice Elf Adverse)	3:55

• Teresa Alfieri

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	Greatest Hits LP, Compilation Pitman Pressing, Gatefold Comprehend	Epic – KE 30325	Usa	1970	United states of america — 1970
	Greatest Hits 8-Rail Cartridge, Compilation, Quadraphonic	Ballsy – EAQ 30325	US	1970	United states — 1970			New Submission
	Greatest Hits Reel-To-Reel, iii ¾ ips, ¼", 4-Track Stereo, 7" Cinematics Reel, Compilation	Epic – ER 30325	Usa	1970	US — 1970
	Greatest Hits 8-Track Cartridge, Compilation Orange shell	Epic – EA 30325	US	1970	U.s.a. — 1970			New Submission
	Greatest Hits LP, Compilation Gatefold	Epic – KE 30325	Canada	1970	Canada — 1970
	Greatest Hits LP, Compilation Gatefold	Epic – BN 26284	Europe	1970	Europe — 1970
	Greatest Hits 8-Rails Cartridge, Compilation, Stereo	Epic – PEA 30325	United states of america	1970	US — 1970			New Submission
	Greatest Hits LP, Compilation	Epic – S 69002	UK	1970	Britain — 1970
	Greatest Hits LP, Compilation, Stereo Gatefold	Ballsy – BN 30325, Epic – BN.30325	New Zealand	1970	New Zealand — 1970			New Submission
	Greatest Hits Cassette, Compilation	Epic – ET 30325, Epic – ET-30325	Canada	1970	Canada — 1970			New Submission
	Greatest Hits LP, Compilation	Ballsy – ES-6.055	Venezuela	1970	Venezuela — 1970			New Submission
	Greatest Hits LP, Compilation	Epic – ELPS 3599, Epic – ELPS-3599, Epic – KE 30325 +ane more label...	Commonwealth of australia	1970	Commonwealth of australia — 1970			New Submission
	Greatest Hits = Grandes Éxitos LP, Compilation, Stereo Gatefold	Epic – BNS 26284	Spain	1970	Spain — 1970			New Submission
	Greatest Hits LP, Compilation Gatefold	Ballsy – KE 30325	US	1970	United states of america — 1970			Needs Changes
	Greatest Hits LP, Compilation, Stereo Pitman Press, Gatefold	Epic – KE 30325	U.s.a.	1970	Us — 1970
	Greatest Hits LP, Compilation Terre Haute Pressing, Gatefold	Epic – KE 30325	Us	1970	Us — 1970
	Greatest Hits 8-Track Cartridge, Compilation, Stereo	Epic – EA 30325	US	1970	US — 1970			New Submission
	Greatest Hits LP, Compilation, Misprint Gatefold	Ballsy – KE 30325	Canada	1970	Canada — 1970			New Submission
	Greatest Hits LP, Compilation Gatefold	Epic – KE 30325	Canada	1970	Canada — 1970			New Submission
	Greatest Hits LP, Compilation Santa Maria Pressing	Epic – KE 30325	United states of america	1970	US — 1970			New Submission
	Greatest Hits LP, Compilation, Unofficial Release, Stereo	Offset Record – FL-1973	Taiwan	1970	Taiwan — 1970			New Submission
	Greatest Hits 8-Rails Cartridge, Compilation, Stereo Carmine shell	Epic – EA 30325	U.s.	1970	U.s.a. — 1970			New Submission
	Greatest Hits LP, Compilation, Stereo	Ballsy – S EPC 69002	Britain	1970	United kingdom of great britain and northern ireland — 1970			New Submission
	Greatest Hits Cassette, Compilation	Epic – 40-69002	Britain	1970	UK — 1970			New Submission
	Greatest Hits LP, Compilation, Stereo	Appointment – DAS 2087	Southward Africa	1970	South Africa — 1970			New Submission
	Greatest Hits Reel-To-Reel, three ¾ ips, ¼", 4-Track Stereo, 7" Cinematics Reel, Compilation	Ballsy – ER 30325	US	1970	US — 1970			New Submission
	Greatest Hits LP, Compilation, Stereo	CBS – S.Eastward. 8275	Republic of peru	1970	Peru — 1970			New Submission
	Greatest Hits 8-Track Cartridge, Compilation, Stereo	Epic – EA 30325	US	1970	US — 1970			New Submission
	Greatest Hits LP, Compilation, Stereo Gatefold	Epic – KE 30325	U.s.	1970	United states of america — 1970			New Submission
	Greatest Hits 8-Rail Cartridge, Compilation	Epic – 42-69002	UK	1970	UK — 1970			New Submission
	Greatest Hits 8-Rails Cartridge, Compilation, Stereo Red cart	Ballsy – PEA 30325	US	1970	United states — 1970			New Submission

This is a pretty peachy pressing. There's some slight surface whooshing in the song gaps, but the music itself is very dynamic, the bass thunders in a defined manner and the soundstage is very prissy. Recommended.

Does anyone have thoughts on this pressing? I've simply read one bad opinion on amazon then far

Edited six months ago

I can't comment on the quad-worthiness of this LP, simply I must say, wow! The alternate mixes of these tunes is interesting. Every bit mentioned, you get the stereo mixes of 3 songs that were not bachelor in true stereo until a CD release nigh 10 years ago.
Then there are the little mistakes and alterations, some instruments are louder or nowadays, when they weren't on the official 2 channel mix version. They do drown out the drums in the break of Sing A Uncomplicated Vocal, but they likewise left out Cynthia'southward voice in the intro! Dance to the Music has a dainty longer outro, simply they forget to edit in the scat department into the beginning of the vocal. The worst remix has to be for Stand up, they completely neutered the second half of the song, if that's fifty-fifty possible. You can hear that the loud howdy chapeau is actually an overdub in this mix. The snare, kick drum have their own howdy-chapeau, down the center, the overdubbed 16th notes on the hi hat are panned to i aqueduct in this mix.
The obvious pregnant remix that was done for this LP was all of the drums were centered, whereas in the original 2 channel stereo mixes, drums were hard panned to one aqueduct.

Thanks for the elaborate notes on the replacement disc. Helped me ensure I have the corrected re-create.

Edited one year agone

I found this sealed in a "used" record bin so I was a little surprised at the warp that is more visible on the B side than on the A side but information technology plays through fine. It sounds better than my 70's press as well in terms of condition but is on par with sound quality.

This is the oldest 'bass record' in my collection. Of grade I am speaking most 'Thank you'. Originally released in 1969 as 7", this stereo version is an incredible deep funk rails, which nonetheless crashes today'due south dancefloors, believe me!

Sly & The Family Stone's about indelible achievement was to enhance their relentless and progressive funkiness, then to dribble it downwardly into a format that was more commercially friendly, getting dorsum to the music within the funk construct … and for that aspect alone, Sly will be remembered for all time, every bit no one has been able to accomplish this attribute with the grace and harmonic texture that he brought to life.

Now, I'grand not saying that James Chocolate-brown wasn't adept, indeed he was, yet James was never able to apply the essence of what Sly was hearing in his head, even though the two were traveling downwardly the same path when information technology came to social integrity, justice, freedom and empowerment for black Americans at the time, along with an abiding beloved of the sounds. Though with that in heed, Sly managed to bring white America along for the ride equally well, as Sly's songs were non equally securely steeped in black culture, nor did he encompass the racial divide, non that James Dark-brown was a racial purist, but his music was created for and out of the black experience. Sly on the other hand had been working with multi cultural bands for vocal long that he was deep into the righteousness of both cultures, so took a step into the counter civilization of the times, tripped out on more than acid than I've ever dared think most, coming dorsum from those lysergic adventures as a new messiah in robes of many colours, with a vocalisation and instrumentation that have been pounding at the walls of the institution since those hazy days and nights of the threescore'southward, weaving his music with a funky swagger and textures that were far reaching in all that they encompassed.

The anthology Dance To The Music (though sadly "Hot Fun In The Summer Fourth dimension" was not included on the LP) was i of those records the world needed at the time of its release, a tape that was able, if for only a moment, to smooth out the frayed nerves of our collective consciousness at the cease of that decade, giving united states of america something to dance to, something to dance to in a new fashion, where nosotros flew our freak-flags for all they were worth with a smile of emancipation on our faces.

Information technology wasn't until the release of their Greatest Hit's album at the end of the year in 1970 that the globe recognized Sly & The Family Stone were i of the most dynamic bands of all time, delivering a solid album of instant classics that have never been out of reach for me. That being said, information technology'due south odd to think that the band only stuck it out for seven years and vii albums, though splintering around the edges had begun long before the band split, with the original aggregation non lasting that long to begin with … such a shame.

Sly was sincere about what he was bringing to the globe and he made no basic well-nigh his dear of pop music, yet they were not agape of experimentation and certainly embraced an element of unpretentiousness, with their idealism never sounding corny.

Review by Jenell Kesler

Edited 4 years ago

Right timing for "Sing A Simple Song" and "Thanks (Falettinme Be Mice Elf Agin)":
"Sing A Simple Song" - 3:55
"Cheers (Falettinme Be Mice Elf Agin)" - 4:47

Patently, the timing was switched between these both songs on the inner gatefold credits and on the characterization.

This edition is the commencement Greatest Hits version to feature the not-album singles songs, "Hot Fun in the Summertime", "Everybody is a Star" and "Thank You" in true stereo. The stereo edition of this LP has the three songs in fake rechanneled stereo.

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Source: https://www.discogs.com/master/112692-Sly-The-Family-Stone-Greatest-Hits

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