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well to get a lot of the band's best music to date out to a lot of people, and also to fill the elongated gap between new albums. Included were two songs, very different from each other, that didn't appear on any other album: "Hot Fun in the Summertime" and "Thank You." The first was an atypically jazzy laid-back groove, the second a funky jump with shady lyrics, both ahead of their time and ultimately influential on music to come from other artists. The rest of the album constitutes a showcase of the Family Stone's most upbeat material.

There's a Riot Goin' On Epic, 1971

(1) Luv N' Haight; (2) Just Like a Baby; (3) Poet; (4) Family Affair; (5) Africa Talks to You "The Asphalt Jungle"; (6) There's a Riot Goin' On; (7) Brave & Strong; (8) (You Caught Me) Smilin'; (9) Time; (10) Spaced Cowboy; (11) Runnin'Away; (12) Thank You for Talkin' to Me Africa; Bonus Tracks: (13) Runnin' Away (single version); (14) My Gorilla Is My Butler; (15) Do You Know What?; (16) That's Pretty Clean

Sly Stone-vocals, keyboards, guitar; Rose Stone-keyboards, vocals; Freddie Stone-guitar, vocals; Cynthia Robinsontrumpet; Larry Graham-bass, vocals; Jerry Martinisaxophone, vocals; Greg Errico-drums; Bobby Womack-guitar; Billy Preston-keyboards; Miles Davis, Herbie Hancock, Ike Turner, Jim Ford, Joe Hicks-miscellaneous contributions

The dissolution of the original flesh-and-blood Family Stone and Sly's shift of focus toward himself and toward the drum machine were readily apparent on this iconic album, as was a generally darker and funkier approach to the music suggestive of the impact of harder drugs and personal strife. The rhythms, human and electronic, were often artful and suggestive of what would later be heard from Sly and other musicians, notably Stevie Wonder and Prince, but the melody lines were much narrower and the song list less diverse than on the Family Stone's earlier albums. There are moments of lyrical strength and humor, notable on "Family Affair," Riot's chart-topping single, and on "Spaced Cowboy." Among the bonus tracks are three instrumentals, which show more about how Sly was working deep in grooves and forming up his funk.

Fresh Epic, 1973

(1) In Time; (2) If You Want Me to Stay; (3) Let Me Have It All; (4) Frisky; (5) Thankful N' Thoughtful; (6) Skin I'm In; (7) I Don't Know (Satisfaction); (8) Keep On Dancin'; (9) Que Sera, Sera (Whatever Will Be, Will Be); (10) If It Were Left Up to Me; (11) Babies Makin' Babies; Bonus Tracks: (12) Let Me Have It All (alternate mix); (13) Frisky (alternate mix); (14) Skin I'm In (alternate mix); (15) Keep On Dancin' (alternate mix); (16) Babies Makin' Babies (alternate version)

Sly Stone-vocals, keyboards, guitar, bass; Rose Stonekeyboards, vocals; Freddie Stone-guitar; Cynthia Robinsontrumpet; Rustee Allen-bass; Larry Graham-bass; Jerry Martini-saxophone; Pat Rizzo-saxophone; Andy Newmarkdrums; Vet Stone, Mary McCreary, Elva Mouton-backing vocals

Without ever achieving the antiheroic landmark status of Riot, this album was arguably more user-friendly, engaging, and wider reaching than its predecessor, while continuing to probe the potential of funk and electronically manipulated rhythms and editing. Tracks like "In Time" were sophisticated, "Let Me Have It All" made soulful use of its Little Sister female chorus, and "If You Want Me to Stay" was as alluring and personal as anything Sly had ever laid down. The surprising (and spuriously controversial) cover of"Que Sera, Sera" evoked Sly and Rose's sacred roots. Overall, this seemed a brief reprise of good sounds, if not good times. The bonus tracks are reflective of Sly's increasing involvement in studio retakes, striving toward some private standard of satisfaction; they're all good, but what ended up on the album is better.

Small Talk Epic, 1974

(1) Small Talk; (2) Say You Will; (3) Mother Beautiful; (4) Time for Livin'; (5) Can't Strain My Brain; (6) Loose Booty; (7) Holdin' On; (8) Wishful Thinkin'; (9) Better Thee Than Me; (10) Livin' While I'm Livin'; (11) This Is Love; Bonus Tracks: (12) Crossword Puzzle (early version);