Sly & Family Stone - Everyday People - 1968

Introduction

Everyday People is a compact 1968 single by Sly and the Family Stone, written and produced by Sly Stone. It combines an inviting pop surface, a persistent groove, contrasting voices, and a direct argument against prejudice. The record asks you to hear human difference without turning difference into a hierarchy. It is therefore useful for studying popular music, funk, psychedelic soul, civil rights history, rhetoric, media representation, and the relationship between artistic form and social meaning.

The single appeared late in 1968 and became the band's first number-one hit on both the major United States pop and soul charts in 1969. It remained at the top of the Billboard Hot 100 for four weeks and later appeared on the 1969 album Stand!.^[1]^[2]

The 1968 publicity photograph shows the original group as a visibly collective ensemble. As you work through this course, treat the image as historical evidence: examine clothing, positioning, gaze, hairstyle, and the way publicity photography constructs a band's identity.

The official video above was produced decades after the recording. It is not a documentary image of 1968. Compare what you hear in the original recording with the later visual choices, and ask how the video translates a message of shared humanity for another media era.

Learning Goals

By the end of this aiMOOC, you should be able to:

Close listening: Describe rhythm, instrumentation, voices, form, texture, and production using evidence from the recording.
Song analysis: Explain how repetition, contrast, hooks, and collective vocals support the song's social argument.
Historical context: Connect the 1968 release to struggles over racial justice, economic justice, war, youth culture, and social change.
Media literacy: Distinguish the original recording from later videos, performances, archives, and commemorations.
Critical thinking: Evaluate both the power and the limits of a universal message about human equality.
Creative transfer: Apply the song's methods to your own writing, performance, visual work, research, or civic communication.

The Song at a Glance

Aspect	Information	Why it matters
Artist	Sly and the Family Stone	The group joined musicians of different racial backgrounds and genders in a prominent American rock, soul, and funk setting.
Songwriter and producer	Sly Stone	Songwriting and production were coordinated around one artistic concept.
Release	November 1968	The timing places the single in a year of intense political conflict and cultural transformation.
Label	Epic Records	The single circulated through a major commercial record company and reached a mass audience.
B-side	Sing a Simple Song	The pairing connected a concise pop statement with a harder funk performance.
Later album	Stand! from 1969	The song became part of a larger album concerned with participation, identity, resistance, and possibility.
Approximate duration	About two minutes and twenty seconds	The short form demands economy: every vocal entrance, rhythmic pattern, and contrast must work quickly.
Chart result	Number one on the United States pop and soul charts	Commercial success carried an anti-prejudice message into mainstream listening.

The official Sly Stone biography describes the song as simultaneously supporting unity and pride in diversity.^[3] That combination is central to this course: equality does not require sameness, and difference does not justify domination.

Listening First

Listen once without reading an analysis. Record only what you can hear. On a second listen, identify when voices change, when instruments enter or become more noticeable, and which musical ideas repeat. On a third listen, consider interpretation: what attitudes are created by the relaxed tempo, the compact structure, the alternating singers, and the communal refrain?

Use a three-column listening log:

Time or section	Observation	Interpretation
Opening	What instrument, pulse, or voice do you hear first?	What expectation does the opening create?
Verse	Which singer leads, and how is the line delivered?	Does the delivery sound conversational, declarative, playful, or confrontational?
Contrasting vocal passage	Which voice, register, or pattern changes?	How does contrast make the social categories in the text more noticeable?
Refrain	How many voices seem to participate?	How does a group sound change the meaning of an individual statement?
Ending	Does the recording resolve, fade, repeat, or stop?	What does the ending imply about whether the social problem is finished?

Evidence rule: A listening observation should be verifiable by another listener. An interpretation may be debated, but it should still be supported by details from sound, language, context, or performance.

Meet Sly and the Family Stone

Sly and the Family Stone formed in the San Francisco Bay Area in the second half of the 1960s. Their work brought together elements of soul, rhythm and blues, gospel, rock, pop, jazz, and psychedelia. The classic lineup was notable not simply because its members looked different, but because multiple members contributed distinctive instrumental and vocal identities. The group's visible diversity made its messages about coexistence more than an abstract slogan, while the realities of the music industry and American society meant that representation alone could not eliminate inequality.

Sly Stone had worked as a radio disc jockey, musician, songwriter, arranger, and record producer before and during the rise of the band. This mixture of roles helps explain why the recording can sound simple while being carefully designed: a short song may still coordinate melody, groove, studio balance, vocal character, timing, and public image.

The Classic Lineup and Musical Roles

Member	Main role in the group	Listening focus
Sly Stone	Vocals, keyboards, composition, arrangement, production	Lead delivery, structure, sonic concept, and transitions
Freddie Stone	Guitar and vocals	Rhythmic guitar, ensemble singing, and vocal contrast
Rose Stone	Keyboards and vocals	Bright vocal timbre, keyboard support, and collective identity
Larry Graham	Bass and vocals	Low vocal register, rhythmic bass, and percussive attack
Greg Errico	Drums	Pulse, backbeat, fills, restraint, and forward motion
Cynthia Robinson	Trumpet and vocals	Brass punctuation, spoken or shouted energy, and timbral contrast
Jerry Martini	Saxophone	Horn color, ensemble texture, and melodic reinforcement

The group did not erase individual identities. Instead, its arrangements often made difference audible. Low and high voices, male and female voices, horns, guitar, keyboards, bass, and drums occupy different sonic spaces while contributing to a shared groove.

Historical Context: Why 1968 Matters

The release year should not be treated as a decorative date. In the United States, the civil rights movement had achieved major legal victories, but discrimination, segregation, unequal access, violence, and economic injustice remained. The assassination of Martin Luther King Jr. on April 4, 1968 intensified grief and conflict. King's planned Poor People's Campaign continued that year and connected racial justice with employment, income, housing, and education.^[4]

This Library of Congress photograph shows demonstrators in the Poor People's March in Washington, D.C., on June 18, 1968. The photograph does not directly explain the song, and the song does not describe this march. Placing them together is an analytical choice: both belong to a period in which public arguments about equality, dignity, poverty, and belonging were urgent.^[5]

The year also included continuing opposition to the Vietnam War, generational conflict, student protest, political violence, and debate over the direction of Black freedom struggles. Popular music could offer protest, escape, community, commercial entertainment, or several of these at once. Everyday People succeeds partly because its social message is not separated from pleasure: listeners can dance, sing, and think simultaneously.

A Contextual Reading Without Reduction

Historical context can deepen interpretation, but it should not reduce the song to a political document. The recording is also a crafted commercial single, a performance by named musicians, a product of studio technology, and an object that listeners may use in different ways. A strong analysis therefore moves among several levels:

Musical form: What happens in the sound?
Language and rhetoric: How is the argument expressed?
Performance: Who speaks or sings, and with what vocal character?
History: What social conflicts shaped the release and reception?
Industry: How did a major label, radio, charts, and television circulate the work?
Reception: How have later audiences reused and reinterpreted the song?

Musical Language

Form, Economy, and Repetition

The song is unusually concise. Its form alternates short lead passages, contrasting vocal material, and a refrain that returns quickly. Instead of developing a long narrative, the song works through accumulation: brief examples of social difference are placed beside a stable central claim. Repetition makes the idea memorable, but it also models persistence. Prejudice is not answered once; the response must be voiced again.

A hook is a memorable musical or verbal unit that attracts attention and supports recall. Here, the principal hook is strengthened by several features: simple wording, repeated pitch shapes, group participation, a steady groove, and a duration suited to radio. A hook is not automatically shallow. In effective popular music, memorability can become a method for carrying complex ideas into everyday life.

Groove and Pulse

A groove is a repeating rhythmic framework created by the interaction of instruments and voices. The groove in Everyday People is steady rather than frantic. Drums, bass, guitar, keyboards, and vocal rhythm create a relaxed forward motion. This matters rhetorically. A highly aggressive arrangement might make the message sound like an attack, while a slow ballad might make it private or mournful. The chosen groove makes social instruction feel communal, mobile, and danceable.

Listen for:

Backbeat: Accents that help organize the meter and connect the track to soul, rock, and rhythm and blues.
Syncopation: Emphasis that interacts with or pushes against the expected beat.
Ostinato: A short repeated figure that stabilizes the arrangement.
Pocket: The precise ensemble timing that makes the groove feel settled and convincing.

Bass as Rhythm and Voice

Larry Graham's bass playing is important because the instrument does more than supply low notes. Its attack contributes to the percussion of the track, and its repeated pattern helps unify changing voices. Graham became famous for developing a highly percussive approach to electric bass, often described as thumping and plucking or slap bass. In this recording, focus on what you actually hear rather than repeating a legend without evidence: compare note attack, sustain, rhythmic placement, and interaction with the drums.

Graham also contributes a low vocal register. This creates a second meaning for “bass”: the bass guitar anchors the harmony and rhythm, while the bass or baritone voice expands the social body represented by the singers.

Vocal Texture and Collective Identity

The recording moves among individual lead lines, contrasting voices, and ensemble responses. This is a form of call and response, a broad musical principle with deep roots in African and African American traditions, gospel, blues, work songs, jazz, rhythm and blues, and many other practices. In this track, vocal exchange prevents a single voice from owning the entire argument.

Ask yourself:

Does each voice sound interchangeable, or does each retain a distinct identity?
When the ensemble joins, do you hear agreement, celebration, pressure, or solidarity?
How do register, accent, timbre, and gender shape the meaning of a supposedly universal “we”?
Does the group sound represent actual equality, an aspiration toward equality, or both?

Arrangement and Production

An arrangement decides what each performer does and when. Production shapes how the performance becomes a recording through microphone choice, balance, editing, effects, and overall sonic design. Sly Stone handled both creative domains. The result avoids overcrowding: the groove remains legible, voices enter with clear functions, and instrumental color supports rather than hides the message.

The recording is associated with mono single culture, where music had to communicate through radio, small speakers, jukeboxes, and portable devices. Mono does not mean primitive. It creates a single sound field in which balance and frequency separation are crucial. Compare the official audio through headphones, a phone speaker, and a larger speaker. Note what changes and what remains intelligible.

Words, Meaning, and Rhetoric

This course does not reproduce the full copyrighted lyrics. You can conduct close analysis while using a legally accessed recording or authorized lyric source. Quote only the minimum language needed for educational discussion.

Equality Without Sameness

The central argument is not that people are identical. The song acknowledges differences in appearance, social position, attitude, and identity, then rejects the idea that these differences make one person inherently superior to another. The well-known phrase different strokes for different folks compresses this argument into memorable everyday language.

The song's rhetoric works through several devices:

Device	How it works	Effect
First-person language	The singer includes the self rather than judging only other people.	Responsibility becomes shared.
Contrast pairs	Opposed social descriptions are placed side by side.	Categories appear unstable and arbitrary as measures of worth.
Repetition	The central claim returns after examples.	The message becomes memorable and communal.
Colloquial diction	Familiar words and playful sounds replace academic vocabulary.	A broad audience can enter the argument quickly.
Multiple voices	Different performers carry parts of the text.	The performance embodies plurality.
Humor and play	Childlike or teasing vocal gestures interrupt moral seriousness.	The song criticizes prejudice without becoming a lecture.

The Power of Simplicity

Simple language can make an ethical statement portable. People can remember it, sing it together, use it in classrooms, campaigns, advertisements, films, and personal reflection. Yet simplicity also creates risk. A slogan about getting along may hide unequal power, institutional discrimination, or material injustice if listeners treat prejudice only as a private attitude.

A critical interpretation should hold two ideas together:

The song offers an emotionally powerful rejection of hierarchy and exclusion.
Social equality requires more than goodwill; it also involves laws, institutions, resources, representation, and accountability.

This tension does not cancel the song. It gives you a more demanding question: how can a short popular song open ethical imagination while leaving room for deeper political analysis?

Perspective and Pronouns

Pronouns such as “I,” “you,” and “we” assign positions to singers and listeners. When a performer uses an inclusive first person, the listener may be invited to join. However, inclusion is never automatic. Ask who could hear themselves represented in 1968, who might have felt omitted, and how those answers may change across race, gender, class, nationality, disability, sexuality, religion, and generation.

Create a pronoun map while listening:

Pronoun position	Possible function	Critical question
I	Self-identification	Is the speaker confessing, asserting, or inviting?
You	Direct address	Is the listener treated as equal, opponent, witness, or participant?
We	Collective identity	Who is included in the group, and who decides?
They	Social distance	Does the song create an outside group or resist doing so?

Representation: The Band as Message and Workplace

Sly and the Family Stone is often celebrated as an influential multiracial and mixed-gender band. The classic lineup made social integration visible on stages, record sleeves, and television at a time when many American institutions and performance circuits remained segregated in practice. The Rock & Roll Hall of Fame describes the group as both musically powerful and a force for positive change.^[6]

Representation should be analyzed rather than merely praised. Consider three levels:

Image: Audiences saw people of different racial backgrounds and genders performing together.
Sound: Members contributed different vocal registers, instrumental timbres, and performance styles.
Labor: A band is also a workplace shaped by contracts, pay, leadership, touring, publicity, and unequal industry power.

The band's image supports the song's message, but image alone cannot prove that every internal relationship was equal. Historical analysis should distinguish aspiration, public symbolism, and working conditions.

Performance, Festivals, and Public Memory

In 1969 the group performed at major festivals, including the Harlem Cultural Festival and Woodstock. These events placed the band before large audiences and linked its music with youth culture, Black cultural expression, counterculture, and the festival economy. Later films and archives have changed which performances are remembered and how.

The photograph above shows Sly Stone performing at Woodstock in 1969. Study the relationship between body, microphone, costume, lighting, and crowd scale. A performance image can communicate intensity, but it cannot reproduce sound, duration, audience response, or the sequence of a live set.

The official live video of Love City at Woodstock offers a comparison with the studio single. Observe tempo, vocal spontaneity, instrumental extension, camera framing, and crowd interaction. Live performance can make the collective message feel immediate, but film editing also shapes your access to the event.

Harlem Cultural Festival and Archival Visibility

The Harlem Cultural Festival of 1969 featured major Black artists and drew large audiences. For decades, its filmed performances were far less visible in mainstream public memory than Woodstock. The documentary Summer of Soul helped reintroduce this archive and raised questions about who controls cultural memory.

Use the Smithsonian discussion to examine archival ethics. Ask why some footage circulates widely while other footage remains unseen, how documentary editing creates historical narratives, and how rediscovered performance material can challenge a familiar story of the 1960s.

Recognition and Legacy

The album Stand! was added to the United States National Recording Registry in 2014. The Library of Congress identifies its key tracks, including Everyday People, as foundational statements of late-1960s music and precursors to later soul and funk.^[7] Sly and the Family Stone entered the Rock & Roll Hall of Fame in 1993.^[6]

George Clinton's induction speech is a primary source for reception history. It tells you how one influential musician framed the band's importance in 1993. Treat the speech as a perspective, not as neutral proof: identify its claims, examples, emotional appeals, and omissions.

Later funk, pop, rock, dance music, and hip-hop drew from the band's grooves, vocal layering, studio ideas, visual style, and integrated ensemble model. Influence can appear through direct cover versions, sampling, stylistic imitation, public tribute, or the broader normalization of techniques that once sounded new.

This 1974 image from Soul Train belongs to a later stage of the group's history. Compare it with the 1968 publicity photograph. Which visual elements suggest continuity, and which suggest change in fashion, personnel, television culture, or branding?

A Critical Listening Guide

Use the following sequence for a complete analysis.

Before Listening

Write down what the title, year, artist name, and available image lead you to expect. Mark each expectation as a hypothesis, not a fact. Note what prior knowledge or stereotype may be shaping it.

First Listening: Whole Experience

Do not pause. Describe energy, mood, movement, and your strongest memory immediately afterward. Avoid technical vocabulary unless it genuinely helps.

Second Listening: Musical Evidence

Track pulse, bass, drums, guitar, keyboards, horns, lead voices, group voices, section changes, and ending. Use timestamps if your source allows them.

Third Listening: Rhetorical Evidence

Identify contrast, repetition, direct address, humor, category words, and shifts between individual and collective voice. Do not copy full lyrics.

Fourth Listening: Context and Reception

Ask how the recording might have functioned on 1968 radio, in a dance setting, within civil rights discourse, and as a commercial product. Then compare those possible uses with your own listening situation.

Evaluation

State a claim about how musical form carries social meaning. Support it with at least three specific observations. Address one alternative interpretation and explain why your reading remains persuasive or how it should be revised.

Source Evaluation, Copyright, and Responsible Use

A strong project separates different kinds of sources:

Source type	What it can support	Main caution
Original recording	Sound, form, performance, arrangement, and production	Streaming versions may use different masters or metadata.
Contemporary photograph	Appearance, staging, publicity, and visual culture	A posed image is constructed, not transparent reality.
Chart archive	Commercial ranking and timing	Popularity does not equal artistic quality or social approval.
Interview or speech	A participant's perspective and memory	Memory is selective and may change over time.
Scholarly or institutional history	Context, synthesis, and documented interpretation	Check evidence, scope, and publication date.
Later documentary	Curated archival access and argument	Editing, narration, and music create a new interpretation.

The song remains copyrighted. Educational analysis may quote brief portions when legally justified, but reproducing complete lyrics is unnecessary for learning and may violate copyright. Use authorized recordings, cite sources, credit creators, and distinguish quotation from paraphrase.

Interactive Tasks

Quiz: Test Your Knowledge

In which year was Everyday People first released as a single? (1968) (!1965) (!1971) (!1974)

Who wrote and produced Everyday People? (Sly Stone) (!Larry Graham) (!George Clinton) (!Greg Errico)

What is the central social argument of the song? (Difference does not justify human hierarchy) (!Popularity proves moral authority) (!All people should share one culture) (!Music should avoid public issues)

On which album did Everyday People later appear? (Stand) (!Fresh) (!Life) (!Small Talk)

What major chart achievement did the single bring the band? (Its first United States number one hit) (!Its first classical music award) (!Its first number one album in Britain) (!Its first film soundtrack contract)

Which musical feature most strongly supports memorability in the song? (Repetition of a concise hook) (!A long improvised guitar solo) (!Frequent changes of meter) (!An unaccompanied orchestral ending)

Why is the classic band lineup historically significant? (It was prominently multiracial and mixed gender) (!It performed without instruments) (!It consisted only of studio musicians) (!It avoided television appearances)

Which song was paired as the B-side of the 1968 single? (Sing a Simple Song) (!Family Affair) (!Hot Fun in the Summertime) (!If You Want Me to Stay)

What did the Library of Congress add to the National Recording Registry in 2014? (The Stand album) (!The Woodstock film) (!The Soul Train television series) (!The Epic Records company archive)

What is the strongest method for interpreting the recording? (Connect claims to specific audible evidence) (!Treat every later tribute as factual proof) (!Judge the message from the title alone) (!Ignore historical context completely)

Memory Game

Call and response	Exchange between a leading phrase and an answering phrase
Groove	Repeating rhythmic framework created by interacting parts
Timbre	Distinctive tone quality of a voice or instrument
Integration	Participation across social divisions within one ensemble
Psychedelic soul	Style combining soul foundations with experimental rock colors
Hook	Memorable unit designed to attract attention and support recall
Context	Historical circumstances that shape meaning and reception

Drag and Drop

Match the correct terms.	Topic
Strengthens the central message	Repetition
Supports direct pop impact	Short duration
Turns the song into a collective statement	Mixed vocal roles
Exposes arbitrary social ranking	Contrast pairs
Keeps the message danceable	Steady groove

Match each analytical effect with the musical or rhetorical feature that produces it.

Crossword Puzzle

Equality	What principle rejects the idea that some people have greater human worth?
Groove	What repeating rhythmic framework makes the track feel settled and danceable?
Timbre	What word describes the distinctive tone quality of a voice or instrument?
Repetition	What device makes the central idea return and become memorable?
Integration	What process brings people across social divisions into one ensemble?
Psychedelia	What experimental late-sixties influence mixed with soul in the band's style?
Baritone	What lower male vocal register is associated with Larry Graham's singing?

LearningApps

Cloze Text

The single was released in

. Sly Stone wrote and

the recording. The song later appeared on the album

. Its central ethical theme is human

. The compact form depends strongly on

. Larry Graham anchors the ensemble with the electric

. The classic lineup is often described as socially

. A memorable recurring musical unit is called a

. The release year provides essential historical

. The Library of Congress selected the album for the National Recording

. Careful listening separates observation from

. A critical reading connects personal respect with structural

.

Open-Ended Tasks

Easy

Listening Map: Create a one-page timeline of the recording that marks vocal changes, repeated sections, instrumental entrances, and the ending.
Visual Identity Collage: Use openly licensed images to show how clothing, posture, typography, and photography shaped the public image of the band, and credit every source.
1968 Context Timeline: Select four documented events from 1968 and explain in one sentence each how they may affect a listener's interpretation without claiming that they directly caused the song.
Music Vocabulary Cards: Design illustrated cards for groove, hook, timbre, call and response, and syncopation, using your own examples rather than copied definitions.

Standard

Evidence-Based Song Paragraph: Write a structured paragraph arguing how one musical feature supports the message, using at least three precise listening observations.
Community Interview: Interview two people from different generations about what equality in everyday life means, obtain consent, summarize rather than expose private details, and compare their views.
Groove Workshop: Recreate the basic feeling of the track with body percussion or classroom instruments, then explain how tempo, repetition, and ensemble timing affect meaning.
Media Comparison: Compare the official audio, the later official video, and one live performance in a presentation that distinguishes original evidence from later interpretation.

Advanced

Archive Research Project: Build an annotated mini-archive of six reliable sources on the song, band, album, chart history, and 1968 context, evaluating authorship, date, purpose, and limitations.
Transformative Arrangement: Create an original short arrangement inspired by collective vocals and groove without copying the melody or lyrics, and document your ethical and musical decisions.
Critical Equality Essay: Evaluate whether a universal message of shared humanity can address structural racism and economic inequality, using the song as one case study rather than your only evidence.
Mini Documentary: Produce a five-minute video that combines narration, licensed media, original analysis, and source credits to explain how the recording's sound, image, and reception changed across time.

Learning Assessment

Analytical Claim: Develop a defensible claim about how the groove changes the force of the anti-prejudice message and support it with timed evidence from the recording.
Contextual Reasoning: Explain how knowledge of 1968 deepens interpretation while identifying one danger of treating the song as a simple mirror of historical events.
Representation Evaluation: Assess the relationship between the band's diverse public image, its audible division of musical roles, and the limits of representation as proof of equality.
Source Comparison: Compare one institutional source, one primary performance source, and one later documentary source, then judge what each can and cannot establish.
Creative Application: Design a short campaign, classroom activity, or performance that adapts the principle of unity in difference to a current issue without copying protected lyrics.
Counterargument: Respond to the claim that the song is too simple to have political value, using both musical analysis and a reasoned discussion of accessibility.
Transfer Reflection: Apply the course's observation-versus-interpretation method to a different song and explain which analytical tools transfer successfully.

Evidence of Learning

Area	Strong evidence
Knowledge	Accurate explanation of the release, band, album, historical context, and legacy without confusing original and later sources
Listening skill	Precise descriptions of pulse, groove, timbre, vocal roles, form, instrumentation, and production supported by timestamps or section references
Reasoning	Clear claims that connect musical details with rhetorical and social meaning while acknowledging alternative readings
Source literacy	Correct citation, distinction among primary and secondary sources, evaluation of reliability, and respect for copyright
Creative product	An original text, image, performance, arrangement, interview, archive, or video that transforms learning rather than copying the song
Collaboration	Documented planning, fair division of work, constructive feedback, consent in interviews, and responsible handling of disagreement
Transfer	Application of close listening, context analysis, and representation critique to another artwork or real-world communication problem

Sources and Further Reading

Library of Congress essay on Stand!: Historical and musical discussion connected with the National Recording Registry.
National Recording Registry 2014: Institutional explanation of the album's cultural and musical significance.
Rock & Roll Hall of Fame profile: Overview of the group's induction and influence.
Official Sly Stone biography: Career narrative and discussion of the song's message and chart success.
Legacy Recordings Higher! archive: Discographical information and testimony about the band's musical mixture.
King Institute on the Poor People's Campaign: Reliable context for economic justice activism surrounding 1968.
Wikimedia Commons category: Openly accessible images with file histories, licensing information, and metadata.

OERs on the Topic

The English Wikipedia article offers an accessible starting point for further research. Verify important claims through its cited sources and compare its current version with institutional archives.

Linked Learning Areas

Sly and the Family Stone: Everyday People

aiMOOC Projects

[Billboard-1] Billboard, Forever No. 1: Sly & the Family Stone's Everyday People

[LOC-2] Library of Congress essay on Stand!

[OfficialBio-3] Official Sly Stone biography

[KingInstitute-4] The Martin Luther King, Jr. Research and Education Institute: Poor People's Campaign

[LOCPoor-5] Library of Congress: Poor People's March at Lafayette Park

[RockHall-6] 6,0 ^6,1 Rock & Roll Hall of Fame: Sly and the Family Stone

[Registry-7] Library of Congress: 2014 National Recording Registry

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