
[jump] Since Stand brilliantly blended musical styles and blurred racial lines, it made sense that the bands would cover a range of genres, representing a wide array of cultural backgrounds.
The ambition and scope of the tribute, while presenting some logistical issues trying to get bands on and off stage, mirrored the outsized impact of the 1969 album. Sly changed the game, both musically and culturally, and this night was created to shed light on a watershed moment—an homage to his maverick vision.
Before the first song kicked things off, there was a word from the organizers. Lyz Luke, the founder of UnderCover—the people that put on the tribute—was the emcee for the night, providing context and color commentary alongside KPFA host and funk expert Rickey Vincent. The two were onstage frequently, peppering the interludes between acts with quips and historical tidbits.

One of the early highlights came with Sólás Burke-Lalgee featuring Elephantine’s take on the Woodstock classic “I Want To Take You Higher.” In their hands, the classic rock staple got a tinge of electronica added. Burke-Lalgee donned eye paints and shoulder feathers, looking more P Funk than Family Stone, and the band busted into choreographed moves as they shimmied across the stage in unison. What is a Sly Stone show without some theatrics?
To keep it moving, the Marcus Shelby Quintet brought a bluesy vibe to “Somebody’s Watching You.” As one of the smaller groups of the night, their jam had a more intimate and jazzy feel. The piano solo from Joe Warner was killer, as was the stand up bass work. Plus, they did a tease of Rockwell’s 80’s synth hit “Somebody’s Watching Me.” Having chops is one thing, but having a sense of humor never hurts.

Other classic songs like “Everyday People” and “You Can Make It If You Try” were similarly enlivened. These were homegrown remixes, and while the star power and mega watt names weren’t there, the team dynamic was.
The one drawback with the structure of the show was the start/stop dynamic. Since each new band had to setup after each song, there wasn’t much momentum that could be generated. Instead, there were a few too many lulls, making the energy sag at times.

Earlier that day, January 24 was officially named Sly and the Family Stone Day in Oakland. Is this tribute night the start of a new winter ritual? Is There’s A Riot Goin’ On up next to be recreated?
As long as Sly’s tunes are involved, we all win.