Small Talk (Sly and the Family Stone album)
| Small Talk | ||||
|---|---|---|---|---|
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| Studio album by Sly and the Family Stone | ||||
| Released | July 1974 | |||
| Recorded | 1974 | |||
| Genre | Funk/Soul | |||
| Length | 40:30 | |||
| Label | Epic (PE 32930) | |||
| Producer | Sly Stone | |||
| Sly and the Family Stone chronology | ||||
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| Professional ratings | |
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| Review scores | |
| Source | Rating |
| Allmusic |   |
| Austin Chronicle | |
| Robert Christgau | (C) |
| Džuboks | (mixed) |
| The Guardian | |
| Let It Rock | (favorable) |
| Rolling Stone | |
| Uncut | |
Small Talk is the seventh album by Sly and the Family Stone, released by Epic/CBS Records in 1974. This album was the final LP to feature the original Family Stone, which broke up in January 1975.
Small Talk's singles were "Time For Livin'" (the band's final Top 40 hit) and "Loose Booty", an up-tempo funk track which uses the names of Bible characters Shadrach, Meshach and Abednego as a chant. Pictured on the album cover with Sly in a photograph by Norman Seeff are his then-wife Kathleen Silva and his son Sylvester, Jr.
In addition to its standard stereo release, Small Talk was also released in quadraphonic sound.
Beastie Boys sampled the words Shadrach, Meshach, Abednego on the track Shadrach which came out on the album Paul's Boutique in 1989. Beastie Boys covered Time For Livin which was released on the album Check Your Head in 1992 along with a live music video.
The album is more mellow and restful than earlier efforts, critic Alex Stimmel observes. prominence of strings distinguishes the album from earlier recordings by the band, and violin player Sid Page is credited as a band member. According to critic Alex Stimmer, the string section is used to "cushion the mood, augment vocal lines, create melodies, or sting riffs once reserved for horns." Stimmer writes that this aspect of the music shows Sly Stone as "the producer-genius that he was." Other than that, the album has a spare sound in comparison to the band's earlier records. More than half the tracks include studio chatter, which according to Stimmel makes for "an air of spontaneity from the sessions, as if the tape was just rolling and the band was finally having a good time again." In addition to the single releases, other hard funk counterpoints to the mellow tunes are "Can't Strain My Brain" and "Better Thee Than Me".
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