121 - Sly & The Family Stone - Stand! - Loni Love

Summary

Podcast Summary: The 500 with Josh Adam Meyers

Episode 121 – Sly & The Family Stone "Stand!" – with Loni Love

Release Date: February 11, 2026
Host: Josh Adam Meyers
Guest: Loni Love

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Overview:

This episode features comedian and cultural commentator Loni Love in a lively, insightful breakdown of Sly & The Family Stone’s 1969 album "Stand!"—ranked #123 in Rolling Stone’s 500 Greatest Albums. Josh and Loni unpack the record’s historical context, Sly Stone’s genius, and the album’s ongoing relevance to protest, unity, and musical revolution. Candid anecdotes, musical analysis, and good-natured riffing run throughout.

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Main Themes and Purpose

• Dissecting "Stand!" as a pivotal, revolutionary album: The hosts examine how, at the peak of civil unrest and social change, Sly Stone fused protest, dance, funk, and joy to create music that feels like a party, protest rally, church service, and nervous breakdown all at once.
• The significance of diversity and inclusion: Sly’s intentionally integrated band, across gender and race, in a turbulent era is highlighted for its impact artistically and politically.
• Enduring impact and continued relevance: The episode often circles back to how "Stand!" still resonates and why similar works don’t appear as frequently today.
• Personal connections and cultural memory: Both hosts link the music to their upbringings, musical journeys, and views on America, unity, and protest.

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Key Discussion Points

1. The Zeitgeist of 1969 and Sly’s Response (09:33 – 19:00)

• Historical Climate: US was experiencing war, assassinations, and deep generational divides. As Josh puts it:
  “America is on fire… Sly goes, okay, but what if we took all that shit and then made it funky, right? Protest music you could dance to. That was his idea.” (05:13)
• Sly’s Message: Loni reflects on Sly’s fusion of genres and his insistence on inclusion:
  “His music is a fusion of rock, soul, funk, psychedelic sounds. It’s like a party on mushrooms. But I’m trying to make a point.” (13:20)

2. Sly Stone’s Musical Genius & Soulful Innovation (12:21 – 13:53; 23:23 – 24:33)

• Background: Sly’s upbringing in gospel choirs, study at Vallejo Jr. College, and frustration with segregation shaped his band’s ethos.
• Intentional Integration:
  “He made sure that he… tried to be inclusive. He put his sisters, his bandmates—people he came up with—in the band. That just shows you the genius of Sly Stone.” – Loni (17:16)
• Influence on Miles Davis:
  “He saw Sly and was like, well, this is the future. This is the way I gotta go.” – Josh (11:37)
  • Sly’s “psychedelic funk” inspired Miles Davis to go electric.

3. Song-by-Song Discussion

(with Notable Quotes and Timestamps)

■ "Stand!" (24:33 – 27:52)

• Protest and personal empowerment anthem.
• Loni:
  “That’s your protest. That’s your get-your-ass-up-and-do-something. Stand up for something, you know. And he even says in the lyrics, you know, it’s time to stand up. Get off the couch.” (24:33)
• Highlights the track’s gospel-influenced break and strategic musical build.

■ "Don’t Call Me N****r, Whitey" (29:27 – 34:11)

• Satirical confrontation of racial slurs, using call-and-response vocals.
• Josh:
  “It’s a really in-your-face way to do it and to put that on the record in 1969.” (37:22)
• Loni:
  “He was actually trying to say that we’re both calling each other names. And we need to stop.” (34:11)
• Discussion of the song’s potential shock to modern listeners, and whether its context would be understood.

■ "I Want to Take You Higher" (37:48 – 44:34)

• Celebratory, hypnotic gospel build; dual interpretation as spiritual or chemical elevation.
• Loni:
  “That was quintessential Sly Stone. That’s it. You can’t beat that.” (43:07)
• Josh describes the song as among his “happiest moments of life” (41:56) and “makes me happy that I’m alive to hear it."
• Woodstock performance highlighted as a definitive moment. (41:30)

■ "Sing a Simple Song" (44:42 – 47:34)

• Emblems funk minimalism; highly sampled and covered in later genres (“the rhythm forward funk that hip hop is eventually going to become and sample endlessly…”).
• Miles Davis attempted a collaboration, stymied by Sly’s lifestyle.
• Loni:
  “Singer Song is one of the most sampled out of this album and covered songs because it’s such a real simple song.” (47:34)

■ "Everyday People" (56:54 – 61:08)

• The group’s biggest hit, championing unity with the now-iconic slogan “different strokes for different folks.”
• Loni:
  “There is a black man that doesn’t like the white man, who doesn’t like the rich man, who doesn’t like… It’s like, you know, different strokes for different folks. This is a song that had poetry added with a funky beat.” (59:41)
• The importance of tolerance, simplicity, and radical empathy emphasized.

■ "Sex Machine" (61:27 – 66:43)

• Long jam with little lyrics; described as "music for people having sex."
• Used as an example to discuss Sly’s controlling studio presence and the emerging tensions within the band.
• Discussion of Sly’s growing paranoia, control issues, and how it affected his band and collaborations.

4. The Arc of Sly’s Genius, Fame, and Troubles (50:45 – 74:01)

• Coping, Drugs, and Mental Health: Loni describes Sly’s onstage vitality and subsequent need to self-medicate:
  “It took him a long time to get clean. When he got high, he got erratic. That led to the breakup of the group.” (51:15)
• Personal Interview: Loni shares insights from her 2021 interview/presentation for Sly, focusing on his desire to “make this music for the people, about the people” (54:56), and his wish to be remembered for his artistic contributions—not just substance abuse.
• Comparisons:
  • “Prince builds an empire while Sly slowly empties the room. But Sly Stone and Kanye West…” (69:19)
  • Parallels drawn between artistic brilliance and self-destruction, exacerbated by fame and lack of mental health support.

5. Legacy, Reception, and Relevance Today (74:45 – 85:22)

• Album’s Commercial Performance: Gold in 1969, platinum in 1986, over 3 million copies sold.
• Final Reflections:
  • Loni:
    “You can concentrate on the faults, or you can concentrate on the good things… he’s still relevant to this day.” (74:45)
  • Josh:
    “If you haven’t listened to this record, man, what are you doing? … Music history, you got to listen to this.” (75:40)
• Modern Parallels and the Need for Message Music: Both lament the rarity of protest albums of this kind in contemporary music, with brief references to Kendrick Lamar and the absence of political statements at the Grammys.
• Closing:
  • Loni:
    “It is so gospel, psychedelic funk, and it has a purpose. There is a message in this song. So I would say listen to it.” (81:22)
  • Josh:
    “This is a record that feels like a moment when someone honestly believed music could almost hold people together—but not by being polite or safe, but by being real. Almost like joy with teeth and optimism with a backbone.” (81:44)

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Notable Quotes & Memorable Moments (with Timestamps)

• On Sly’s Vision:
  "This basically sounds like a block party, a protest, and a church service and a nervous breakdown almost at the same time." – Josh (10:12)
• On diversity and representation:
  "He put his sisters, his bandmates... so that just shows you the genius of Sly Stone." – Loni (17:16)
• On "Don’t Call Me N****r, Whitey":
  "He was actually trying to say that we’re both calling each other names. We need to stop." – Loni (34:11)
• On "I Want to Take You Higher":
  "A song like this makes me happy that I’m alive to hear it." – Josh (41:56)
• On Musical Legacy:
  “At least we got the one great album… he’s gonna live in infamy because of it. It’s just that people wanted more.” – Loni (71:38)
• On Enduring Relevance:
  “There are more good people than bad people. I just think that the voices that you hear the loudest are always the negative…we’re all everyday people.” – Loni (59:41)
• On Modern Artists & Protest:
  “We need more from our music and from our artists, I believe.” – Loni (83:47)

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Important Segments & Timestamps

| Timestamp | Discussion Topic | |--------------|-------------------------------------------------------------| | 06:58–11:35 | Setting the era: '60s unrest, Sly's context and intentions | | 12:21–13:53 | Sly's musical upbringing, innovation in sound | | 24:33–27:52 | "Stand!" and call to action | | 29:27–34:11 | "Don’t Call Me N****r, Whitey" analysis & modern parallels | | 37:48–44:34 | "I Want to Take You Higher" & Woodstock performance | | 44:42–47:34 | "Sing a Simple Song" and Miles Davis ties | | 56:54–61:08 | "Everyday People" – biggest hit, message of tolerance | | 66:43–69:19 | Sly’s control issues and band tensions | | 69:19–74:45 | Comparisons to Prince/Kanye, artistic self-destruction | | 74:45–75:40 | Sly’s legacy, later years, positive remembrance | | 81:22–82:11 | How to “pitch” the album to new listeners |

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Final Thoughts & Recommendations

Favorite Tracks:

• Loni: "Stand!" (“I really do like Stand.”) (78:05)
• Josh: "I Want to Take You Higher" (“It’s me in probably my happiest moments of life…”) (78:08)

Essential Takeaways:

• Sly & The Family Stone’s "Stand!" stands as a bold, inclusive, joyful, and confrontational statement that defined its era and continues to inspire and instruct on the power of music to hold up a mirror to society—in all its messiness, hope, and complexity.
• If you care about music history or message-driven art, "Stand!" is essential listening.

Closing Pitch:

• Loni: “If you want to take a trip back into the 60s at a time when you want to find out what was going on and how people felt, this is the type of album. It’s so gospel, psychedelic funk, and it has a purpose. There is a message in this song. So I would say listen to it.” (81:22)

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For upcoming tour dates, visit lonielove.com.
For show info and previous episodes: the500podcast.com.
Guest: @ComicLoniLove | Host: @JoshAdamMeyers

Transcript

[Josh Adam Meyers]

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[Lonnie Love]

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[Lonnie Love]

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[Josh Adam Meyers]

Experience the greatest love story of all time. Why did you leave me? Why did you betray your own heart? A film by Emerald Fennell. He's a Cliff Margot Robbie Jacob Elordi Kiss Me and let us both be Damned. Wuthering Heights Original Songs by Charlie XCX only in theaters Friday.

[Lonnie Love]

Experience at an IMAX.

[Josh Adam Meyers]

Rated R. Under 17.

[Lonnie Love]

Not admitted without parent.

[Josh Adam Meyers]

The 500 the 500 JM been walking us down through that 2012 edition, so it ain't nothing to you. Hundreds want to go and in need of a friend, the King, the Fleece for angelo. Talking the 500 until the end Talking the 500 until the end with my man JL on the 500 Talking the 500 until the end. That is I Want to Take youe Higher. It's by Sly and the Family stone from their 1969 record stand. It's also number 123 out of 500 on the 500 with me, Josh Adam Myers. I am a comic. I'm going through Rolling Stone magazine's list of the 500 greatest albums, and that's what I'm doing, guys. That is what I'm doing. Hey, everybody. Hey, everybody. Yeah, Lots going on in Josh world. This Monday, I'm at Shimmy Shimiya at the Comedy Store with Bill Burr, Bobby Lee, Andrew Santino. Then next weekend, the start of this is important. It's a cruise I'll be doing with the Workaholics guys and the band. We're doing some jams. I think it's sold out. And then I'll be releasing more and more dates. Oh, April 23rd in Atlantic City. We moved that Baltimore show to Atlantic City, so I'm doing a Big theater tickets should be up on my website. We're dropping everything today, so. Yeah, man, come to all that stuff. Moontower. And I've got Zany's Nashville, a bunch of shit coming up. Hopefully my agent fucking gets his head out of his ass and starts booking me. Who knows? I have no fucking idea. Guys. Exciting times, isn't it? We got a YouTube. YouTube.com get the episodes. We got a Patreon. Patreon.com the500 podcast. Subscribe to the Patreon. I'm thinking about seeing if I can do every episode live in the final hundred. But, I mean, it's just hopefully we can make that work. I think that would be really cool. Just make sure we do every single one of them, like, in person, either way. And how do we do that? Patreon.com Support the show at Josh Adenmeyers on also Josh Adenmeyers.com for tickets. What is our album today? Well, this one's got some history because we. Before hashtags, before comment sections, I would say before anyone ever decided they were a constitutional scholar because they had their own phone, there was an album by a band called Sly and the Fam, the Stone called stand. And in 69 when this came out, you have to understand, America is on fire. The government is lying. Just like now. Oh, my God, is this like. Everything's just like. As I'm saying all this shit, it's all the same. People are protesting something. And Sly goes, okay, but what if we took all that shit and then made it funky, right? Protest music you could dance to. That was his idea. Revolutionary music your parents accidentally liked. And it's black, white, male, female, doesn't make a difference if you're angry, joyful, hopeful, paranoid, sometimes all that shit will hit you in the same verse. And what's so wild about it is that title isn't even poetic. It is a symbolic message. It is a command. Stand up, stand out, Stand for something or get out of the fucking way. And that is what you get with one of the boldest records that we've done on this podcast. So get your tweets ready because we are digging into Sly and the Family Stone. Stand. And my guest today returning once again, the one and only lonnie love. Lonnie love.com@comIC Loni Love on all social media. She's on tour right now. Visit her website, lonielove.com and check out that memoir I tried to change so you don't have to. Great guest. Perfect for this episode. Super fun rate review and most Importantly, subscribe to the 500 listen free on all platforms or anywhere you get your pods. Follow me, Josh Adamyers on all social Follow the podcast at the 500 podcast. Email the [e-mail], follow the Facebook group run by Crazy Evan. Cause he's still doing it. For all things 500, go to the website the500podcast.com Nothing left to say, but here we go with 121 Slime famous stone Stan, my Brooklyn brother. But I get such little time to spend with Ms. Loni Love. And. But I get all my news from you, sweetheart. I get all my updates of what's going on in the world from the Instagram page of Lonnie Love. Not TikTok. Not doing TikTok no more. I rather have China in control of my TikTok than the motherfuckers that are in control of the information now.

[Lonnie Love]

I know. You see? You see what happened? We were over here thinking about China, and it's gotten worse. Sometimes they say, sometimes leave well enough alone.

[Josh Adam Meyers]

And that's what's funny. And listen. And I'm not. And I want to say this right off the bat, like, I think everybody knows where I politically sway, and I'm not getting political at all on the podcast ever. But. But it's like, I don't mind Republicans, but Peter Thiel is such a dildo. And then the Ellison dude, I don't know. Those are like, get somebody else. I mean, get. I mean, even get Marjorie Taylor Greene on top of it. And I'd be happy with that. You. You look beautiful, as usual. I appreciate the.

[Lonnie Love]

Great. I love the hair. I love the whole look, so. You look great. Wow.

[Josh Adam Meyers]

I want this. I want to. Just woke up, so. So please forgive that. I went at a show last night, and then I went the new. The new Luc Besson Dracula movie, which is gonna be straight, but it's not gonna make any money.

[Lonnie Love]

Oh, no, I.

[Josh Adam Meyers]

No, it's fine. I mean, I went to, like. I get, like. I have AMC stubs. I tried to go see Melania in IMAX 3D in the Rumble seats, but it was sold out. Hard to believe.

[Lonnie Love]

Sure. Okay.

[Josh Adam Meyers]

That'd be like the movie. Like. I. I don't know if I. I've said this maybe on the podcast before, but when Avatar 2 came out, I took mushrooms and went to the theater, and I showed up, and the guy was like. The guy was like, I know what you're here to see, because you could tell I just looked probably up and And I was like, yeah, Avatar and imax. And he goes, well, you got three hours because we're already an hour into the other one. And I go, what are you talking about? I go, I bought it for 7:30. And he looks at my ticket. He goes, no, you bought it from the wrong theater. So I'm like, really? Oh, no, man. Like, well, like, I gotta go see a movie now, because in three hours, like, it'll be over, but I'm on. And the guy goes, well, you can go see any other movie that's playing. And so. And I was like, there was an Avatar starting at the right time. Excuse me, but it wasn't in IMAX 3D. And so the guy was like. I was like, should I go to this or should I see. Wait and see it in imax? And he goes, gotta see an imax.

[Lonnie Love]

Yeah, right, right. Movie.

[Josh Adam Meyers]

Yeah. So I went. So I went to go see the whale. You remember the whale?

[Lonnie Love]

Yes, yes.

[Josh Adam Meyers]

Yeah. On mushrooms. Tripping balls. It was a lot.

[Lonnie Love]

You are always full of joy, Josh.

[Josh Adam Meyers]

It's life, man. It's just. It's. It's. How do you. How do you deal with this, this. This journey that we're on? And I think the only way sometimes to do it, you know, is to. To kind of go out there and live a little bit.

[Lonnie Love]

Well, that. And we have. We always have good music. So, you know, I'm.

[Josh Adam Meyers]

Yeah, so you. You are. You kind of one of our. You're R and B, soul funk. Guest. You know, we need somebody, you know, who have you done? You've done, like, what you did. You did, Jackie. Yeah, with the salt tabs. You're the salt tabs guy. I remember that was. You brought up the info. This was popping them salt tabs.

[Lonnie Love]

And. And the. And the grits. This one that's about to come up is. Is. It's. It's sad, but it. It does have some. Somewhat of a happy. Somewhat happy ending.

[Josh Adam Meyers]

Oh. I mean, so. So to everybody, you know, because, you know, we. We should die. It's so funny. The last episode I did, I just told. Because I never get to see you. So I always want to talk about anything but this album. But. But this is the thing. And. No, no, no. I don't want to come off at all. Like, I don't respect this because. Because two things. So. So first of all, let's just get to the meat and potatoes of what the record is. So. So today on the 500, okay, we are talking about stand. If you haven't listened to It. Let's pause the record or pause the podcast and listen to Stand by Sly and the Family Stone right now. And this is a joyful, confrontational, funky and revolutionary. This basically sounds like a block party, a protest and a church service and a nervous breakdown almost at the same time. And. And you. And I think. I think a lot of it has to do with. It just came out in 1969 when America was basically on fire. My father used to talk about that, how scary, you know, the 60s and the early 70s were, because it was like he thought the country was going to fall. And so you got everybody mad, and then on top of that, everybody's high, and you got Sly in the Family Stone or Sly Stone. And he says, let's make an album that tells everyone to grow up, love each other, dance anyway, and maybe overthrow the system. But in platform boots and. And.

[Lonnie Love]

And sequence.

[Josh Adam Meyers]

Yes. I mean, getting. Put a wrist. Like a. Like a. Like a wrist. Not even a wrist. What do you call it, A bicep band? I'm looking at him now. I mean, this is what you look at. You look at the outfits that Sly wore, and you understand why Miles Davis went from the birth of the cool into modal into this, because this is why Miles went electric. Sly Family Stone is one. I mean, from my understanding, it's always been. He was so influenced by. Because he saw Sly and he was like, well, this is the future. It's not what I'm doing. This is the way I gotta go. And so to kind of, like, I mean, you know, to help us unpack this, of course, is, like I said, the woman that knows so much. She probably knows exactly what Vitamin Sly has been on.

[Lonnie Love]

Well, the thing is, is that what we love about Sly Stone, Sylvester Smith, is that he has created. He actually created the. The sound. Psychedelic funk. That's what. That's what he actually called. It was a psychedelic funk. And this actual album had eight tracks to it, and they were all different. And this is the thing about Sly, he's from the Bay Area, so I'm not surprised, being from the Bay Area, that he was influenced by this type of sound.

[Josh Adam Meyers]

He.

[Lonnie Love]

He got his musical training from Vallejo Community College.

[Josh Adam Meyers]

Pause for a second. Vallejo, everybody. This is where. This is the moment. Where have we heard the word Vallejo before? Anybody? Anybody? The movie Zodiac. Zodiac Killer in Vallejo. That's the only reason I know it. Modesto Vallejo. Lot of. Sorry. That's. Sorry. I'm fascinated by the Zodiac.

[Lonnie Love]

That's what. That's where he Got is his music education. His. His family was musical. He grew up with the gospel sound. And then, like I said, he went to Vallejo Junior College. And. And then he just started studying himself. And his music, like I said, is a fusion of rock, soul, funk, psychedelic sounds. And it's like what you just, you know, described. It's like a party mushrooms. But I'm trying to make a point. And that's what he actually did. You want to go through the first song, which is.

[Josh Adam Meyers]

Hold on. Before we. Before we even get into any of the record. First of all, let's. Because this is. This is why this is record. It actually really has like a deep, deep, deep meaning to. To me is. So. My mom, Ms. Sharon Myers, old and flappy, keeps falling. Keep falling, Sharon, keep. Dude, we just had. Me. I. I have a phone call with my sister tonight because we have to do an intervention on my mom because she spends too much money on Teemu. I know, I know, man. But I say to Jody, my sister, who. We're in control of her finances. I'm like, dude, I was like, that is depressed. Like, there ain't nothing. There ain't nothing that make you feel bad. Dude, I just went through a quasi breakup. It wasn't even a breakup.

[Lonnie Love]

Just.

[Josh Adam Meyers]

It was an intense month relationship and then it just kind of ended. And so what do you do to feel better? You hit complete purchase. There's no better way to get out of a funk. These black. These are. These are. Oh, these are. No. God, no. Dude, no. I'd be on frost. Take these off. You gotta know where to Teemu. You can't just teemu everything. You might teemu a jacket, maybe a. You know, I don't even do a pair of shoes because you walk up with calluses all over your goddamn.

[Lonnie Love]

Yeah, I don't know.

[Josh Adam Meyers]

Yeah, no, you got it. You gotta be careful. Eyes, feet, heart. You know, the. You don't skimp on. But yeah, so we gotta do this thing tonight. That's what I'm saying. So my mom, who was. Who is a. I'm not gonna sit here and say my mom is, like, dull or even like a dork or never into music. But she only had a couple albums, and Sly in the Family Stone's Greatest Hits is one that she had. She had. Wow. She had Mamas and the Papas with, you know, California Dreaming and Monday. Monday. And then she had Sergeant Peppers. Those are the three. And then she has a couple, Peter, Paul and Mary, which we've talked about before on the podcast. I always Say, those are my first concerts. But, yeah, like, Sly. So I. So I remember. I think it opened with Dance to the Music on the Greatest Hits, which is always so funny that they release these greatest hits, like, so early into their career. Like, they'd have, like, two records and it be like, cash grab. Cash grab.

[Lonnie Love]

Cash grab, baby. Cash grab.

[Josh Adam Meyers]

Cash grab. But. But this. But this was the thing is that, you know, they. They put together these incredible songs by Sly and that has. Which is, you know, which we're going to get to. And I mean, I'll straight up say it now is one of my favorite rock and roll songs in the history of music that I've covered a million times at Morty's Tuesday night jam at the Kibbutz Room is I want to take you higher. So I heard that then and was like. And I'm already a rock and roll fan in my early aunts, and I'm like, this is. I. I knew this was special. I knew this song was. I wouldn't even thought it was funk. I would have never even said those words. I was like. I just, like. It's the way that I call Otis Redding the greatest rock star. I don't think he's a soul singer. He's a rock star, you know, And I think Sly is a rock star. I think he just happens to be influenced by, you know, like the. The. The culture, which is then motivating the music into what will eventually become, you know, maggot brain, like you said, psychedelic. And. And with Parliament.

[Lonnie Love]

Yeah, he was. I think he was a musical genius. He. He looked at what was happening at the times, and he put together, you know, Sly and the Family Stone, where it was about. It was about genders, it was about races. He made sure that he. He tried to be inclusive. He put his sisters, he put, you know, his. His bandmates, you know, people that he came up with in the band. So that just shows you the genius of Sly Stone. And this album, you know, really is. It's. It's. You can still listen to a lot of the tracks today, and it really fits into the times. That tells you the genius of Sly Stone.

[Josh Adam Meyers]

You know, I. I love that you said that. And because I was going to mention that. Is that racially diverse in a time when that was not cool? I mean, the world is still changing. I mean, right. Where did I just have it? I just had up. What's going on in the world?

[Lonnie Love]

We were at war.

[Josh Adam Meyers]

Yeah. Vietnam war. Yeah, go ahead.

[Lonnie Love]

The. The protest. You still. We had the civil rights Movement. So it was a lot going on for a young. For a young person at that time. And then here comes this album that, like. I don't even think, actually, Josh, like, everything that's happening today, I can't find an album that I could equate with, like, looking at what's happening today and say, okay, that. That was the Stan album. I just can't find. I just can't find it.

[Josh Adam Meyers]

Yeah, there's no. Well, I mean, they are, but I. But I. I guess it's more just. There's so much now that you're. We're just so. It's. It's so spread thin that it's just like one group might be hearing, like, this is our protest record, but it's never going to reach these people. Something like this, you know, everyday people or. Or stand or, you know, don't call me. These songs, like, they stick out a little bit more because it's like I said, it's like music back then was so centralized where it's like. It was like. It's like television. Why everybody watched the MASH finale is because you have four channels or three channels. Yeah, so. So to back up what you were saying for the Canadian listeners that don't know about American culture in our country in 69, not just civil rights, but you have to understand America. And this is what I talked about. My dad would say is that. Is that post JFK and MLK getting assassinated? My father, he just said. He was like. I thought it was just every leader was going to start getting killed. And I think a lot of people thought that. They thought the country was going to fall. Don't Forget, we're only 250 this year. We're young, so. And then you have the Black Power movement, you know, calling for unity. You do have Woodstock, which. Which Slide, by the way, would steal basically entire festival.

[Lonnie Love]

Yeah.

[Josh Adam Meyers]

You have the generational divide, which is so funny because it's so. It's like the way that we call the kids boomers are the. The bo. The kids call the adults boomers now. Not us. Not us. Gen X. Gen X. We're kill. I'm right there. I'm a pubic hair away from a millennial, but I am Gen X, thank God. But, yeah, you have the generational divide where the parents are square and the kids are, you know, are suits. You have suits versus bell bottoms, basically.

[Lonnie Love]

And.

[Josh Adam Meyers]

And then we said, music is shifting right now. People are experimenting with drugs. They're experimenting with weed. They're experimenting. And that's Back when it was called weed.

[Lonnie Love]

Well, I think and think people were doing it because people were confused. People were like wondering what's going on. You see these protests, you see our political leaders there's there. Everybody had these questions in their mind and. But at the same time, people needed to get away. And so the way they did it was through experimental drugs and getting high, going to concerts. And this is like that quintessential album that, you know, it really encapsulates that whole time. It really, really does. So, you know, when you like, you look at Sly and the Family Stone, it looked like you were at a party with a bunch of kids and everybody was cool and you were with the cool kids. But it was. You can't have that without the genius, like I said, of Sly Stone. And you know, he produced this album, he wrote the lyrics. He had some great producers on this album. And it really does. You know, I think it's like what, 115 on your list for.

[Josh Adam Meyers]

Oh, this is. Oh, God. And he just, he just passed away a few years ago. R.I.P. like, I. Well, I don't want to get to the. We'll get to the ending how this kind of. Because it's really a sad story with this guy. He's such a musical genius, you know, and you're like, how do you become such a genius? How do you become a guy like that? And, and you mentioned it earlier, he is just to give you a bullet point history because he is the. The force behind this is Sly. He's born in 43 in Texas, then like you said, raised in Vallejo. Raised in the church music, doo wop, R B. Works as a radio dj, becomes a staff producer at a record label, Autumn Records. He's a musical genius and is locally known in the 60s. Frustrated by the segregated bands. That's how you get there. He's frustrated. He's dude text. He grows up in Texas and then. And then moves to Vallejo. And I mean, I think that's pretty liberal area, but still like when you're not in San Francisco and you're not in Los Angeles, those like chunk areas, like that's a lot of bullshit there. And I'm imagining they're probably even more racist and more segregated back then. And then in the late 60s, 66, 67, he forms lie in the Family Stone. And he wants to make sure racially integrated with men and women. So that alone is a political statement.

[Lonnie Love]

Yeah.

[Josh Adam Meyers]

You know, and, and the reputation is everything that we just talked about. The live show is incredible. The outfits Are crazy. Their energy is synchronized. Yeah. I mean, any little video that's out there of the old shit is fucking great. And it's funk mixed with psychedelic. They dropped their debut, a whole new thing. Critics love it, but it does not do well. It's too experimental. There's not enough hits. The record label says make it simpler, make it funkier. And then in 68, you get dance to the Music, which we covered that song at Moon Tower. That for me was. I love that song. Oh, it's such a good song, man. It's such a. That's a bar mitzvah wedding. You could play that. You could play that at a high school dance and even now. And I think kids would still. It doesn't have to be just adult adults, but. But what's so cool is that. And he does it throughout this record too, is he introduces the call and response funk style, which. It's been there before, right. But I think he's just a guy that's really popularizing it into the hits. And. And then.

[Lonnie Love]

Well, this is the thing too. In this album, when you look, listen to Stan, this actual album, there's not a lot of lyrics. I was looking at the lyrics. It's more like you said call and response. It's just, you know, I think the most lyrics you. You hear out of this, out of the eight tracks, is you have everyday people and you have Stan. And those are the ones that really, you know, for lack of better words, stand out to me. And they're. They were. They were chart favorites. So. But I think because you mix the music with the lyrics with the. With the energy, with the fashion, that's where you got this great show. So the first song, which I said is the title track, is Stan. And that's your protest. That's your get your ass up and do something, you know, don't stand up for something, you know. And he even says in the lyrics, you know, it's time to stand up. Get. Get off the couch and stand up. And I think right now, today, you can use that song for what's happening.

[Josh Adam Meyers]

I don't think this is just a call for. For the protest, which. Which for sure could stand today. This is just. This is just for the individual to be a human being and be empathetic. And it's like, stop wasting your life care. You know what I mean? Give a. Whether it's even. Even if it's just taking a shower in the morning and, you know, and it's like, it's just be a part of Society, like you said, stand for something.

[Lonnie Love]

Like, I stand up, but I get tired, Josh.

[Josh Adam Meyers]

I'm like, I got.

[Lonnie Love]

Can I sit down? Nobody makes a song called sit down.

[Josh Adam Meyers]

You would have been a great sit in protester. Yeah, because you got them temu shoes, dude. You've been buying them teemu shoes.

[Lonnie Love]

But the thing about. I like about this track, when you listen to it, it's very mid tempo, and it has that gospel break at the very last 45 seconds of the song. So if you. If the listeners listen to it, it's a certain, you know, tempo. And at the last, like, 45. And I didn't. And a lot of people criticized. Criticized Sly because they said, why didn't you use that temple throughout? But that's the genius of Sly. He wanted to get your attention. And also when I was looking this up, this track, most of the Family Stone were not available when they were.

[Josh Adam Meyers]

Every time you say that, I just think of that movie with all the white people. What is. That's like the whitest movie. Like, Rachel McAdams is in it. Who the fuck is in. Yo, Alex, a new microphone. Alex, pull up the. Pull up the movie poster for Family Stone and show this bitch how fucking white is. You keep saying that, and I'm like, you're talking about a movie with, like, the most whitest. Yeah, dude. Diane Keaton fucking Rachel McAdams, Dylan McDermott, Sarah Jessica Parker. It's like, just so we know we're talking about Sly in the Family Stone, right?

[Lonnie Love]

Yeah.

[Josh Adam Meyers]

Not the Thomas Bazucha film, the Christmas comedy drama. Oh, my God. Luke Wilson, Clear Danes. I mean, this is like, this is the opposite of the Sly in the Family Stone.

[Lonnie Love]

That's white in the Family Stone. This is.

[Josh Adam Meyers]

That says. This is. This is Joshua. There you go. Put it up. Look at this. Look how white this. Get it up there. There it is.

[Lonnie Love]

I'm working on it. Oh, the fail. Oh, my good. Yeah.

[Josh Adam Meyers]

Stop saying the Family Stone. Sly.

[Lonnie Love]

Sly.

[Josh Adam Meyers]

There's somebody. There's somebody right now that's like.

[Lonnie Love]

She's talking about. Yeah, I'm sorry.

[Josh Adam Meyers]

She's talking about the Dylan McDermott vehicle with Craig T. Dude, Craig T. Nelson is in it. That's how you know. Did make 90. But it did make just a little known fact. Family stone came out December 16, 2005, garnered mixed critical reviews, but 92 million worldwide. That's. That's. Yep. That's pretty good. All right, this movie. All right, what we're talking about.

[Lonnie Love]

Okay.

[Josh Adam Meyers]

He's talking about Stan. Go ahead, baby.

[Lonnie Love]

So we Got through. We get through. Stan, three minutes. And then the next song is called Don't Call Me Whitey.

[Josh Adam Meyers]

You can say that title. You can say that title. I used to do it. Joke about. I used to do a joke about, like, putting your. You know, when you're hooking up with a girl, you're hooking up with somebody, and you have your music on. You have your itunes on shuffle, and you have a big catalog, and. And I would sing, like, oh, the first song is like, Al Green. But then the next song. And it would be something funny, and I do. The next song is something sexy again. But then it would go and it would play this. And I mean. I mean, it's. It's hard to. You take a big risk early on in your career to, like, try to sing that. And, like. And then the people in the room go, what? And you're like, yeah, maybe I shouldn't say this title ever again in public in front of a microphone. I mean. Well, first of all, here, let's. So, Stan, before we jump into Don't Call Me is as the white people.

[Lonnie Love]

You cut it off. Don't call me.

[Josh Adam Meyers]

Yeah, don't call me. Yeah, I mean, don't call me Whitey. I can say Whitey.

[Lonnie Love]

I actually like that as a remix. Josh.

[Josh Adam Meyers]

Don't call me. I love it. But by the way, you. You missed one of the most hilarious things about the song Stand. And I want to get. Hold on. I want to make sure I get these lyrics right. Stand lyrics. Sly. There's a standing time.

[Lonnie Love]

I was trying to avoid that.

[Josh Adam Meyers]

With all this stand and racially unity. Midget.

[Lonnie Love]

No, but you gotta realize that was the time that. That was before this correctness. That was so that's. I tried to avoid that one.

[Josh Adam Meyers]

No, you don't avoid it. You face that shit head on. You face it head on.

[Lonnie Love]

It was the 60s, 70s, they were using that term.

[Josh Adam Meyers]

Now we say there's a spina bifida motherfucker with his bent all back and. And in 20 years there'll be some other smoking crack Stand. There's a paraplegic trying to stand.

[Lonnie Love]

Josh, with the remix.

[Josh Adam Meyers]

Dude, hire me.

[Lonnie Love]

Oh, my goodness. But it really is a good song, though.

[Josh Adam Meyers]

I just think. I just. I. You cannot not hear that and not go, yeah, what was that like? Let's get again. What was that? Midget standing tall.

[Lonnie Love]

Well, I mean, little persons. There's a little person standing tall.

[Josh Adam Meyers]

Now you say that. Now you say that. But not actually. Here's the funny thing. Here's the funny Thing Sly went so crazy in his life eventually, you know, if he did the song. Now there's a little itsy bitsy person who's born with chromosomes that keep him small. He's like, whoa, dude, Sly, chill out. We should get Brad Williams on the phone to make sure this is okay. Great song. Great song, by the way. Just might be one of the few songs in the world.

[Lonnie Love]

Yeah.

[Josh Adam Meyers]

Alex, please find out if it's kind of like there's that song by Live where, you know, her placenta falls to the floor. Like, that's the only song with the word placenta in it. Can you please check, Alex, and find out if there are any other songs ever made with the word?

[Lonnie Love]

I'm sure there are plenty. I'm sure you think from. From the 60s and the 70s.

[Josh Adam Meyers]

Yeah, I. Yeah, there's a. The Boy George song. Midget, Midget, Midget, Midget, midget. Little person come and go. All right, I took that too far.

[Lonnie Love]

Devo has. Devo has a song called Widget.

[Josh Adam Meyers]

Interesting. Yeah. But they also have a song called Mongoloid, so they're. God bless their soul, you know. All right, Don't Call Me.

[Lonnie Love]

This is the second track. It's 5 minutes and 58 seconds, basically 6 minutes of just that one lyric. And there's actually one other lyric that Sister Rose. His sister actually sings in it. But other than that, it's just this call and response. And what it is is that it's Sly saying, don't call me Whitey. Whitey responds, don't call me Whitey. So it's just people going back and forth.

[Josh Adam Meyers]

It's the Chevy Chase. Richard Pryor. Exactly. On Saturday Night Live, which, you know, is controversial, hilarious, and. And also as. As biting to the time, you know, the mid-70s, that anything ever could be. And so, I mean, this is like. You know, this. I mean, this is just. And it's such a. It's such a funky song that's got that vote. The. The voice thing. What do you call that? The vote. The Coder. Yeah. I mean, this is a shocking, shocking song on the first lesson, you know, but as you. But as you hear it, it's, I think. I think, satire. Confrontational. But like we said, it's forced dialogue.

[Lonnie Love]

Right. It's like people calling each other names. So it's like. But, you know, of course, the N word, hard R is so, you know, even today, you can hear it, and you. You go, wow. You know, but what he was actually trying to say is that we're both calling each other names. And we need to stop.

[Josh Adam Meyers]

I remember in 2000, maybe like 2001, right before 9, 11, when I was in college, there was a. I was, there was roommates. Not my roommates, but there were roommates that lived in the. I was in the dorms or in these like, apartments. And there was these four kids that live. One of them is this white kid from like Virginia or whatever. And, and not racist whatsoever. But he had Mel Brooks movies and he had Blazing Saddles, right?

[Lonnie Love]

Yeah.

[Josh Adam Meyers]

And there was a, there was a, there was a, there was a. They're both on the swim team. And there was one of his roommates, this black kid, was just like, you know, I don't know. I remember him being like, yeah. I was like, we wanted to watch him. He goes like, well, this is like, you know, there's a lot of the, there's a lot of the N word in there and blah, blah, blah. And it's kind of a racist movie. And I'm like, it's not racist. It's really calling out racism more than anything. You know what I mean? And, and, and, but, but someone that's younger, that doesn't understand the context of what it is, would look at. Because they're using that word or because they're saying off color racial jokes that instead of Mel Brooks where, you know, he's, he's, you know, calling out the racism. It's, it's. If that's what he's doing and sometimes people don't see it. Do you think a generation now, if they heard this song, would understand that this is satire? Or do you think this would, they would just be like. They hear the words and the words alone are just like this.

[Lonnie Love]

To answer your question, I think nowadays they just hear the word and they lose it. Like, you know, because they go hard R or soft A. And it's, it's all these different meanings and stuff. But it's like, what's the meaning of the software song? That's why you have to listen to the whole song and you see what he's saying. But this song, this would have to be a rap song. It couldn't be anything else with, you know, with, you know, of today, because it's just not, you know, I mean, I remember when I was, I grew up in Detroit, Josh. And I was never, I never heard that word. Literally. I grew up in the projects and I can promise you, growing up, I was trying to figure out when did I hear that word. It was not until I went to college down in Texas that I actually heard that word. And it's just amazing to me because I go, when was I called it? And it was in Texas. I remember I was crossing the street and it was some guys in a car. And then they said, get out the way. And I was like, wait, what? And so it's funny how I never. Growing up, I never heard the N word. I literally was like, did. I never heard my mom say it. I never heard my family say it. And we were in the projects. And so I just think that that word has power. And if you allow it to give you that power, then it takes away your whole being. And so I think what Sly was trying to do was use this and say, you know, take away that power.

[Josh Adam Meyers]

Yes.

[Lonnie Love]

You know, and that's all.

[Josh Adam Meyers]

Yeah, I know. I agree. I think this is his solution to end it. It's like, do unto others as they would do onto you. You know what I mean? It's like, so don't call me that. You call me that. I'm gonna call you that. But if. Don't call me this and I won't call you that. You know what I mean? And I. And I think it's. It's a, you know, listen, it's a. It's a. It's a. It's a. It's a. It's a really in your face way to do it and to put that on the record in 1969, I mean, you know.

[Lonnie Love]

But if you really look at. Even the way he plays the tracks, it's a reason. So you have, you know, don't call me N word, Whitey. But then the next track is I want to take you Higher. It's literally a poetry that. Just the tracks alone and the titles and the way they're placed, it tells you something about what he's trying to convey to the listener, because I want to take you higher. You know, it was Freddie Stone. It was. That's his brother, Larry Graham. Larry Graham is the actual. He's the uncle of Drake. Very musically inclined. He and Sly Stone got into it, so he left Sly and the Family Stone and. And started his own group called Larry Graham and the Grand Central Station. And he has this wonderful song, Larry Graham. A lot of people know it, an R and B chart called One in a Million. But it was on I want to take you Higher is Larry Graham is Rolled Stone, Sly Sister and Sly Stone. And they take turns delivering the lead vocals on I Want to Take you Higher. All the seven band members, they're shouting the back vocals, and they're all playing the musical instruments and I want to take you higher. It's supposed to be that gospel version of a song where it's like you are feeling low and they get into this. Like, in. In gospel music, that's what we do. It's called a build up. It's like we start kind of low, and then you keep repeating the phrase, I want to take you higher, and you just. And it becomes hypnotizing. And that's what the song does. And it's a short. You know, it's. It's five minutes. You know what I love too, about his songs? Like, he would. He would take a song. He could do three minutes, or it could be 13 minutes. It doesn't matter. With Sly, it depends on how much he was high.

[Josh Adam Meyers]

Yeah, well. Hey, Alex, can you pull up the performance of this song from Woodstock? Because this is a Woodstock defining moment. It is pure chaos. And. And it's like, this is. But it's also joy. It's like. It really is like, it's. There is something about this song that from the moment that I heard it, I. I just got it. I loved it. And. And I was. And like, I just has. I don't. I don't know how to explain the feeling that. That I had when I first heard it, but it's just. It's always just been one of my favorite songs ever. And then to do it live with either, like I said, Morty's band or with my band, it's. It's just been like. It's just such a great rock and roll song. And. And it's. You know, it's really just like the. The. I mean, I don't know. It's like I don't even know the words that I'm singing half the time when I'm doing it. And like, a lot of it is. Is like, it's harder as I've gotten older to hit some of those notes. But I mean, there's something about that. Like, once you do that, boom, lock a lock up, you know, that. That part and into the kicking it back, it's. It just. It's me and probably my happiest moments of, like, of life. It's like there's. There's like a song like this. The only way to put this. A song like this makes me happy that I'm alive to hear it.

[Lonnie Love]

Right.

[Josh Adam Meyers]

You know what I mean? It's. I don't. And that's so funny because it's. I don't think for. For anybody else, it Might be like, yeah, it's a good song. But, I mean, to me, it's. It's the epitome of. Of why Sly and the Family Stone deserves any of the accolades and discussion of why he's great. It's just. It combines all the elements of everything we talked about. Talk. Even. Even this church stuff. I want to take you higher. It's like. It has everything. I feel like there's a song that is just him. It's this song. Oh, you got a little video.

[Lonnie Love]

It could be I want to take you higher, meaning I want to take you higher, like a drug reference, or it could be a spiritual reference.

[Josh Adam Meyers]

That's what I'm saying. Yeah, yeah, yeah. That's what I'm saying is that it goes. It goes either way. And I think that's why it's. You. You know, it's like you can. You don't have to read into it too much. It's just. It is. It is what it is, but it's just. From the beat is getting stronger, you know, music getting longer. It's. There's just. You know, Pete is nitty gritty.

[Lonnie Love]

I just.

[Josh Adam Meyers]

I. Yeah. I love sound. Sound is in your city. Yeah. Play a little bit of this. Go ahead. Can you make it full screen? I mean, he is just. He. This is like. He's one of the coolest that's ever lived. Like, just the. The look. And I mean, it. It's like. It's.

[Lonnie Love]

It's the.

[Josh Adam Meyers]

The picture I have of Miles Davis, the painting I have up there of him. It's like. That's basically all of his, like, look came from that. And. And it's just. Yeah, man.

[Lonnie Love]

I mean. And on the. The trumpet is Cynthia Robinson, who he had a child with. And. Yeah, you know, I always got the goods for that one. And Cynthia. So it was basically. Cynthia, it was his sister, it was his two brothers, and it was the two. The drummer and the guitarist that were. That made up the whole band. But that. That is quintessential. That song I want to take you Higher was quintessential Sly Stone. That was that. You can't. Can't beat that. Like, if you come up with a song, that's it.

[Josh Adam Meyers]

Yeah. So I find this quote saying, it's not a. It's not a message song. This is simply a dedicated to music and the feeling one gets from music. And that makes me love it even more. It's like, listen, man, we've done two songs that are pretty heavy on the. On the message. This one is Just about, dude. Just. It's just dance to the music. This is a. This is this album's dance to the music. But. But I think a little bit dancing music is like, you know, this is. That's how you play that. Like I said, you play that at a wedding, in a bar mitzvah. The grandma gets up, everybody. The rabbi will go and dance. Ah, you're doing dance to the music. You play this one, they're like, oh, my God, Take you higher. It's like, take me, baby, yeah, I'm going down dates. If my feet hurt, I got these teemu shoes on.

[Lonnie Love]

All right, let's.

[Josh Adam Meyers]

Let's skip over to. Let's just do some of the hits.

[Lonnie Love]

Let's.

[Josh Adam Meyers]

Do you want to do. Sing a simple song? Let's do that one.

[Lonnie Love]

Yeah.

[Josh Adam Meyers]

Nothing against nothing. Not nothing against. Somebody's watching you because it's a great song, but sing a simple song. Funk minimalism. This is. This is an early example of. Of basically the rhythm forward funk that hip hop is eventually going to become and sample endlessly after that.

[Lonnie Love]

Yeah.

[Josh Adam Meyers]

And the lyrics are basically saying, music doesn't need to be complicated to be powerful. Yeah.

[Lonnie Love]

And this is one of the most covered songs at that time. It's like the Supremes covered it, Michael Jackson covered Single Simple Song. And then, you know, it urges the audience to try to do a little, you know, though, let's say, like the scales and. Yeah, the Temptations, all that all covered it. The riff is heard on Ike and Tina Turner's Bold Sister Sound. And of course, Miles Davis. The riff is heard on Miles Davis A Tribute to Jack Johnson. Can we talk about his relationship with Miles Davis real quick?

[Josh Adam Meyers]

Sure.

[Lonnie Love]

Miles Davis loved Sly Stone. Like you said earlier, they basically. Sly Stone is the person that woke Miles Davis up. And one of the stories is that Miles really, really, really wanted to collaborate with Sly. He went over to his house to try to, you know, do it. And at that time, Sly was really, like, out there. He said, and I quote the Miles wrote that he basically went to. To his house. There were women everywhere. There was drugs everywhere. It was no way that they could collaborate. And he said, we ended up doing some coke together, and I left. And they. We never. And. And this is the thing, too, Josh, about Sly Stone, that when you. When you look at every review or book, people are upset at Sly Stone because Sly Stone was so musically powerful and a genius that people got upset because they wanted more, you know, and we'll get into why. I. You know, why we think. But that's one of the failings of, you know, the whole point of his lifestyle with the drugs. You know, we miss these opportunities of collaboration that he could have had with the greats, like a Miles Davis, you know, and we never got that. And a lot of people are upset, you know, were upset about that. So the singer song is like one of the most sampled out of this album and covered songs because it's such a, a real simple song. So it was one of the greats.

[Josh Adam Meyers]

But yeah, yeah. Hey everybody. So you guys have probably heard me talk about how I've been in bands my whole life. I love writing songs and performing in front of crowds. Just like with comedy. As a musician, it can be kind of hard to cut through the noise and really stand out as an artist. I feel like half the music projects I've been in have ended just because we couldn't figure out the answer to that eternal question of how do we get people to hear us? But then again, that was before there was Distrokid. Distrokid is a digital music distribution service that brings your sound to the masses. It's a one stop shop for getting your songs on itunes, Spotify, Apple Music, YouTube, YouTube Music, Amazon, Deezer, Tidal, and many more. What's these? I never even heard of Deezer. How many of them are there? I know all that. That's like the holy grail of streaming services though. And, and getting paid. They want to. We want to get you paid for your music. That's huge because a lot of bands go broke before they get big. But Distrokid collects earnings and payments and sends a hundred percent of these earnings to artists minus banking fees and applicable taxes. And that's just one of the tons of benefits of using Distrokid. You can send big files to anyone with their Instant Share feature. You can use the Hyper Follow feature to promote your release and get pre saves on your song. You can even create personal landing pages for yourself, your band, your brand, and whatever you like. It has a free Spotify Canvas generator too to generate your own Spotify Canvas for your songs. And the Mixia feature instantly masters your tracks for higher quality audio. So if you're ready to bring your band to the next level, it's time to check out Distrokid. The Distrokid app is now available on iOS and Android. Go to the app or Play Store to download it. Listeners of this show can get 30% off their first year by going to to distrokid.com VIP the 500 that's distrokid.com VIP the five hundred for 30% off your first year. Dig it. Ever since I started serving cut water canned cocktails to my guests. Hey.

[Lonnie Love]

Hi.

[Josh Adam Meyers]

How are you? Yeah, going through. I've gone from host, Tahiro, thanks to Cutwater. I can make real, perfectly mixed cocktails in seconds. It's as simple as garnishing a glass, cracking my can of cut water open, and pouring it over ice. Cut water, real cocktails, perfectly mixed. Copyright 2025 Cutwater Spirits, San Diego, CA. Enjoy responsibly. I mean, obviously, obviously, when you get money, you know, you start partying and you're. You're like. Like they always. It's the same with the comedians where you get off stage and you want to. You want to keep that high going. So you. You do drugs, you coke, you drink, you party. I think that's. That's a very, you know, easy, you know, understanding of why he would do that. But also, the guy probably had, like, mental health issues as well, underlying, and that the drugs probably set that off.

[Lonnie Love]

Exactly. And that's what you see a lot with. With a lot of performers. And you got to remember back then, mental health wasn't talked about the way it's talked about now. So to, you know, it took him a long time to get clean. I mean, it took a long time. And the thing is that when he got high, he got erratic, and he got, you know, probably.

[Josh Adam Meyers]

Yeah, yeah, yeah.

[Lonnie Love]

And that's what actually led to the breakup of the group. He's. You start missing dates and you start missing shows. In his own words, though, he did do a memoir that was released in 2023, right before he passed. And he basically was saying that, you know, he. He was saying that his drug use was because of the fact that, you know, look at his shows, Josh. It's a bunch of energy, and you got to keep that energy. So. Yeah, keep the energy.

[Josh Adam Meyers]

Yeah.

[Lonnie Love]

And, you know, you. So you do the coke. And then he says, then I need to come down, so I take pills for that. And it's like. It got just to the point where he didn't want to tour. And tour. Life is hard. You notice. You. And I know this as, as. As touring comics. He just got to the point where he was just. He. It got out of control. And this is what I tell people when I. When I tour. I don't. I try not to party that much because it's hard. You gotta go the next day. You know, we doing five, six shows in a weekend. So you, you know, everybody wants to party with you. You gotta remember at the time, he was the hottest thing that Woodstock took him all the places where he never thought. So everybody wants to be with him. Everybody wants to party with him. He's trying to stay up, and then you got a show the next day. And how the hell you. You're tired from last night.

[Josh Adam Meyers]

Yeah.

[Lonnie Love]

You know what I mean? So he's over here taking. And I'm not giving an excuse. I'm telling you what he said because I did do an actual interview with him, which we'll get in later. And he basically was saying it was this lifestyle that. And he got caught up with those drugs because of it.

[Josh Adam Meyers]

Well, you know, so tell me because, like, what do you mean? So you did an interview, were able to. To speak with him or like, how did that. How did down.

[Lonnie Love]

I have a radio show called Cafe Mocha Radio, and we do a award show where it's. Where it's a salute them awards, and it's basically for people who are in music. And I was looking, you know, for Sly Stone. I wanted to give him the Legends Award. It was very hard finding Sly stone. But in 2021, I was able to contact his daughter, Fun Stone. And that's the young lady that's by his trumpet player, Cynthia. She's her daughter. And we struck up a conversation. I told her about the radio show and what we were trying to do. And basically what I wanted to do was just honor him. The thing is that she was apprehensive because it seems like everybody only focused on his drug use. Whenever they do reviews, whenever they talk about sliced stone, yeah, they talk about the music, but she says they get into the, you know, he was drug. And he did this and he did. And I was like, it's nothing like that. I said, we simply want to highlight his music if I can get a few words out of him. And so we were able to get a camera set up at their house. Sly was in a wheelchair by then. Of course. He was 83 years old. And we were. No, he was 80. He had turned 80. And he. I will never forget his face, Josh. He had the cutest smile. And he still had that, that, that. That Sly personality. And what we did was. And you can see it online. But what I did was we did a voiceover where we talked about his music. And then I asked him a few questions. You really. You could only hear him a little bit, but we have, you know, you know, sub subtitles. And he basically was saying, what I'm telling you is that he wanted to make this music for the people, about the people. And, and he was really happy that. You know, I'm proud that I was able to do one of the last in. In person interviews and give him that award and, and call him a legend, because that's what he is. So it's called the Cafe Mocha. Salute them. And it's two Sly Stone. I had this wonderful group to actually cover his songs, so. And we made it into like a six minute video and you can find it on YouTube. So. And it tells all the history of.

[Josh Adam Meyers]

Him, which was just funny because we usually. I never got to ask you at the beginning, so you got it because obviously if you're putting him on, you're a fan, so you were. This was just, this was just in your household growing up, I'm assuming. And I mean, it had to have been. This is like the music of the generation. Especially like, dude, if my fucking old Jewish mom from Harrisburg, Pennsylvania is with this shit.

[Lonnie Love]

Oh, my mom loves Sly in the Family Stone. And that's, you know, so I remember the. You know, I didn't become a fan until, you know, a lot of hip hop artists started sampling Sly. And then that's what made me actually go and start researching him more. But my mom always played Sly and always played, you know, his music and. But his music is. Has been used so much commercially in movies. And that leads us to the next. You know, we're on side one of this and. Yeah, the first five. Then we turned it over to the B side, baby. The best side.

[Josh Adam Meyers]

You think? Oh, wow. You think so? Okay. No, you will. Yeah. You mentioned the covers. I mean, everyday people or not. Is it everybody? Arrested Development. Was that the one that.

[Lonnie Love]

Yeah, yeah.

[Josh Adam Meyers]

I mean, that was, ah. We actually had speech on. I remember speech. That was a fun episode. I forget what episode album we did, but we had speech from Arrested Development on. I was like. I was like, how's Mr. Wendell doing? He go, he did for about 40 years. I'm like, God damn.

[Lonnie Love]

Well, everyday people.

[Josh Adam Meyers]

Wait, give me a second, dude. That was funny. Can we just appreciate. That was funny, everybody. That was funny. I don't say much funny, but that was funny.

[Lonnie Love]

We'll say funny stuff all the time, but we gotta get through this. This.

[Josh Adam Meyers]

How's Mr. Wendon do it? How's Mr. Wendon do It? Oh, he died about 15 years years ago. That mother. No, money broke. You know.

[Lonnie Love]

I love speech because he's still who we think he is. Every time I see him at a. At an award Show. He's like, yes, sister, how are you? He's just so calming.

[Josh Adam Meyers]

My newbie and my newbie in love. Muffin. Like, Jesus. I love that.

[Lonnie Love]

I love that.

[Josh Adam Meyers]

Hey, you know what, dude? We should all be like that. You know what I mean? He was such. He was such an informative, great dude. And look, dude, Tennessee. I mean, the. The music that they had, that. That ruled. It all ruled. And it's a vibe. It's a. It was the. It was the birth of, like, that socially conscious. Yeah, it's influenced by this. It's just. It's. It's.

[Lonnie Love]

It's.

[Josh Adam Meyers]

Yeah, yeah, yeah. I mean, it's. And it. Anyways. And I mean, listen, Rakim is still doing. And Public Enemy is still doing the same, but it's a little more aggressive. It's more like in your face.

[Lonnie Love]

Right.

[Josh Adam Meyers]

Especially Public Enemy compared to something like, you know, Tribe Called Quest or Arrested Development, where it's like, oh, we're giving you a message. And you can kind of. It's easily digestible, but Everyday People. This is Sly in the Family Stone's biggest hit. Yeah, it's the. I mean, the most famous. I mean, if it's a meme now or just catchphrase, whatever you want to call it, but different strokes for different folks.

[Lonnie Love]

Yeah.

[Josh Adam Meyers]

I don't know. I don't know if I. I think they created that. And I'll.

[Lonnie Love]

I'll.

[Josh Adam Meyers]

They did. Yeah. All right, so then. So. And it's basically a radical message of tolerance wrapped in pop sweetness. And I think the key. The key lyric in this whole thing, it's. This is the mission statement of this record is we gotta live together. That's it. This is. This is. I mean, God damn, you should be playing this at every sporting event, every. Like, I don't know. It's just if we. If we followed the message of Everyday people, we'd still be. I'm not gonna lie. The way Internet us. We're. We're. We're never coming back. We're gonna kill ourselves. With me inside. We're bad, you know?

[Lonnie Love]

No, you know, Josh, there. There are more good people than bad people. I believe that. I just think that the voices that you hear the loudest are always the negative. And, you know, and things like that, and it kind of piques our curiosity and to hear the negative. But when you hear a song like Everyday People and it's like, sometimes I'm right, sometimes I wrong, I don't believe it. But. But I know the words of this song, and it's I'm everyday people. We're all everyday people, you know, and it's like. And the song constantly gives you reminders. There is a black man that doesn't like the white man, who doesn't like the rich man, who doesn't like. You know, it's like, you know, different strokes for different. It's like, this is a song that had poetry added with a funky beat, and it makes you just. And. And people relate to it because people know that this is it. This is. This is inertly how people are. This is just. This is just how people are. And you have to accept people for who they are, you know, but they're. They're definitely, I believe, more good people than bad people. And this song makes it seems like, you know, these are just everyday people, you know, you're an everyday person, Josh. You know that, right?

[Josh Adam Meyers]

Very. I'm very. Every day.

[Lonnie Love]

A short song. It's 2 minutes and 21 seconds. That's all it is.

[Josh Adam Meyers]

I know why you said you're an everyday person and then immediately went into short song. I'm five nine. Okay, five nine. Not short. That's actually Tom Cruise's height.

[Lonnie Love]

Well, the next song is about you, too. It's called Sex Machine.

[Josh Adam Meyers]

With a little peds. If I got those, I'm good to go. If not. We talked about. It's so funny. Why did I say that? It's the second episode in a row I've talked about. Somebody said, I'm a sex machine. I'm like, what? It was Jackie, fabulous. She was like, you look like you sex Machine. I'm like, really?

[Lonnie Love]

That look that you have this new look of yours. Oh, is it her glasses, Josh? Oh. Oh, the profession. Professor. Your professor.

[Josh Adam Meyers]

Well, it was, you know, it was funny. It was. I was like. I went for glasses for aesthetic at first, before I left for Europe, because I was gone in Europe for three months. And then, yeah, I was. I've been. I'm trying to, like, spend as much time as I can over there. I really like it there. And in London, incredible comedy scene. So. But I. But I was like, oh, I need. I would get some glasses. And so I went and got the meta. The. The ones that decipher and do all that. And then I got, like, some hip. Some really cool hip ones. And then like I said about the retail therapy, you just. When you're depressed and you just want to buy, it's like buying just feels good. And so I was like, I'm gonna buy two more pairs of glasses and. And jackets. And. And a rug and candles and just, you know, it's like. It just is what it is. So did I need these? No, but God damn, it's like these are my. These are my everyday. These are my everyday pupils. Everyday things. But it's. I don't know. It's like, as long as I don't just look like my dad, that's all I give a about. I don't want to look like my dad, like out Big Al Myers. And my dad was definitely not a sex machine because I don't think my dad and my mom had sex for the last 20 years of their marriage.

[Lonnie Love]

Ah, you never know.

[Josh Adam Meyers]

No, you don't know that, Josh. Dude. Yes, I do. Yes, I do. I. Trust me, dude. Trust me, dude. My mom's. My mom. My mom at 40, like, hurt her knee. She, like, banged her knee on a rock trying to get me off this rock that I was playing on. And that got fat immediately. Like, that was it. That was a rap. My mom went from being sexy to unfuckable in months.

[Lonnie Love]

You know what, guys? What we not gonna do? You act like fat, fat people. Oh, no, no, no, no, no, no.

[Josh Adam Meyers]

I think. No, no, no, no, no, no. I'm not. Not at all. Not at all. I didn't mean to say it like that. I'm talking. My mom.

[Lonnie Love]

Is.

[Josh Adam Meyers]

And big is beautiful. I'm not saying it's not. I'm just saying my mom, on the other hand, she didn't wear it well.

[Lonnie Love]

You could always bend over.

[Josh Adam Meyers]

Good God. Holy. No, my mom couldn't. Bad back, bad knees. You have fibromyalgia.

[Lonnie Love]

You don't know what people do with Lonnie.

[Josh Adam Meyers]

Lonnie. Lonnie. I'm telling you, I. It's not me being like. It's not me being like, like, no, they don't do it because there's no way, like, they know they have had sex in the past. They did not have sex from the time my mom was from probably 1990, 1991, 92, until. Until my dad died in 2010.

[Lonnie Love]

Oh, my goodness.

[Josh Adam Meyers]

He was getting it somewhere else. He had to have been getting it somewhere else. He had to have been. And I. Dude, cool. I get it. I'm not mad at that.

[Lonnie Love]

I don't believe it.

[Josh Adam Meyers]

I do.

[Lonnie Love]

I. I just think. You don't know. And I think your mom just never told you.

[Josh Adam Meyers]

You. I want you. I want I should FaceTime my mom into this. And you immediately meet her and go, oh, yeah. They didn't for years.

[Lonnie Love]

Oh, my goodness. Oh, well, you're a sex machine. This is like 13 minutes.

[Josh Adam Meyers]

Yeah. It's not to be confused with the James Brown song, everybody. It is not the James Brown song.

[Lonnie Love]

No, it is not the James Brown song. And it's like. And I think it. I think he made this song just for people having sex, because it's not a lot of lyrics. It's a bunch of. It's a bunch of noise and syncopation.

[Josh Adam Meyers]

So good, though. So good. It's really good. I love the. There's. There's. You can hear, like, the band laughing towards the end of the song.

[Lonnie Love]

Yeah.

[Josh Adam Meyers]

Which. Which, you know, which. Knowing this and. And. And Lonnie, we. We skirted over it a little bit, and I had pulled it up while we were talking. I was like. It was. He was already, like. To hear that laughter from the band, you would think that this was a collaborative recording and everybody was having fun, and this was great. Sly was already going kind of crazy during this, and the control freak was coming out. Like, I. I kind of. I Googled, like, what were the things that he was showing his. His flaws with. With this. Because it's like. Because this is the. Also the beginning of the. Of the end of the band. In a sense. He. He had the final say in everything. This was not democratic at all. He would be. He would let his. It was literally his way. There was. There was less patience for collaboration. He could be warm and. And encouraging and inspiring at one minute and then yelling at the next. And then also, you know, avoidance through isolation. He would withdraw emotionally even while he would be preaching unity. You know, it's. It's like everything. It's just the lyrics like, somebody's watching you aren't. Aren't accidental. It says he was afraid of the media, he was afraid of the industry, even people close to him.

[Lonnie Love]

He's.

[Josh Adam Meyers]

He was basically like. He was starting to get to the paranoid delusional, which was what kept him away from the public eye for so long. It's me versus everyone else.

[Lonnie Love]

Yep.

[Josh Adam Meyers]

And the band is still family, but clearly he is the dad. He is the parent. Yeah, I like that.

[Lonnie Love]

I mean, that, like I said with the whole Larry Glenn, Larry Graham situation, you know, this group was having the friction. He had. Sly had paranoia. There were physical threats involving Sly, security and management. So in, like I said back then, there was not this. This big push for mental health and working on mental health. And I don't even know if he knew what he was going through. Even when he was honored at the Grammys in. I want to say 2006. He Literally, you know, you had all these artists like John Legend and Josh Stone, and they were doing this and Steven Tyler, and there was, at the very end, they brought some fly out and he has this, like, mohawk.

[Josh Adam Meyers]

I remember that. Yeah.

[Lonnie Love]

Everybody was like, oh, my God. And then his neck was, you know, because something was wrong there. And he literally, like, while they're still playing, he, you know, he was done. He peaced out, just walked off. And they like, had at least like a minute left. And they were like, okay, well, you know, but that was him. That was Sly.

[Josh Adam Meyers]

I think, you know, there's a parallel between. And this could be the clip. Alex, we should mark this, because I think this might be kind of funny. What I'm about to say is, like, there's parallels between where the genius of Sly and some of the geniuses of our lifetime, you know, more really of our generation, which, you know, you could say Sly is very similar to Prince, right? You know, complete and utter total self belief in the project that they're doing. Knowing that, you know, because, dude, just like Prince, Sly played almost every instrument. You know what I mean? He was a genius at, you know, that believed in the vision mattered more than the comfort. But where Prince, you know, Prince turned his control into productivity, Sly turned it into the control into distance, you know, and. And I mean, Prince builds an empire while Sly, like, slowly empties the room. And so I would think that's not an apt comparison. This is now, I think the app comparison is Sly Stone and Kanye west.

[Lonnie Love]

Where.

[Josh Adam Meyers]

Where you have. Where you have a. You. The early message is basically the same shit. Unity, breaking the molds, possibilities. But then the fame starts to amplify the. The paranoia and the defensiveness, and then they confusing. They start confusing being right with being alone. And there you go is like. Because Sly just erodes his trust privately, but Kanye just burns everything publicly. And let me tell you something right now. If Sly Stone might have had Twitter back in the day, who knows, maybe he would fucking, you know, be praising Adolf Hitler. You have no idea. You have no idea. It's just like, he didn't have that, you know, where he was cut away. And you didn't have social media back then, right? Because, dude, if there was no social media now, and, you know, we'd still love Kanye. You would just be crazy in his own public circle. You're like, God damn, Kanye really into Joseph Gerbils right now. But you're like, you know, but unfortunately, they're idiots that. That get that get this thing and they get all crazy and they start writing manifestos, you know, and.

[Lonnie Love]

But like you said, you know, usually people would do. You know, they would. They would put it into a project, and then that project comes out, and I think he did it early on, but then it just, you know, when you. It exasperates. I mean, they're. They're. I think there. There are a couple of comics that we can, you know, pinpoint. Oh, yeah. You know. Yeah.

[Josh Adam Meyers]

Oh, yeah. Oh, yeah. No, no, I know. You don't gotta say. I know exactly what you're talking about, but it's like. Yeah, dude, it's. It just. It's. It's really, you know, I guess the safe space is like, you. You know, it's like you. This. It shows you just when you look at the people that the industry and stuff and fame is. Has turned sideways, you know, it's. It's really unfortunate and, you know, it's like, I would love to have seen. You know, we're lucky. We got a bunch of great records out of Kanye. Yeah, you know, we are. We're lucky. We're. You know, but it's. But it's. It's sad. We got one good record out of Lauryn Hill. It's a genius album.

[Lonnie Love]

Yeah.

[Josh Adam Meyers]

It might be one of the greatest debut solo, not just female artists, but. But just artists in general.

[Lonnie Love]

In general ever made.

[Josh Adam Meyers]

Yeah, but we got one.

[Lonnie Love]

But that tells you that there's something. I remember seeing Lauryn Hill right after. It was like. It was a party. And I saw the look on her face. Her eyes was dilated, and I was like, oh, my goodness. I said, please, please, please, please, please. This industry will eat you up if you let it. And it's. It's you. Like I said, if you. If you use it. And I'm not saying she's using. I'm just saying something was there that was, like, totally gone. But, you know, at least we got that. I. I try to look at it from this point of view. At least we got the one great album, you know? You know, at least we got, you know, with. With Sly, we got a bunch of great singles, you know, thank you for letting me be myself. Everyday people, you know, Stan, I mean, you've got, like, he's got this. This. He's gonna live in infamy because of it. It's just that people wanted more from him, and we just weren't able to get it.

[Josh Adam Meyers]

You know, it's. It's unfortunate on so many levels, but, like, you. But you, you know, you get great art sometimes out of these people. And it's better, you know, it's better to have what the. This catalog. It's just unfortunate the way that sometimes ends. These stories are, you know, always, constantly. You've. You've heard about this a million times. And. And the fact that he was able to. You know, they kind of were. I mean, I don't know. Did they. Were they able to pull him a little bit out of the. What's the word I'm looking for? Like, poverty? Because I know he was, like, almost living on the street. If I don't want to. I don't want to say that without being right. So if I am wrong, you know, I apologize to anybody that might know that. Real true history. But I just remember hearing stories that he was, like, in, like, shelters.

[Lonnie Love]

Yeah, well, that was mostly from the. You know, from the drug use.

[Josh Adam Meyers]

Sure. But. No, but, but, but. No but the drugs bring on the psychosis and the. They amplify everything. If you're. You know, I had a friend who. We did a bunch of Molly, and over the. Over the. The pandemic, and it broke her brain. And so she already had underlying borderline, and it amplified that or bipolar, and she had an episode.

[Lonnie Love]

Well, in the end, like I said, he ended up. He was living with his. His daughter, and he was clean, and you could tell he was. And it was maybe, you know, the last three years of his life. And I think that with that said, you know, I'd like to remember him as this iconic person who gave us this great set of music. And, you know, you can concentrate on the faults, or you can concentrate on the good things. You can learn from the faults. And so that's what I tried to do. And it's like, it's. He's still relevant to this day.

[Josh Adam Meyers]

Oh, man. That's a perfect way to. I want to wrap that up there with what you just said. I think that's a perfect period to put on because you just said that so perfectly. What did we miss? Is there anything we need to mention? Is there, like. Is there anything. I'm trying to. Look, I know he was inducted into the Rock and Roll hall of Fame. Then you got the.

[Lonnie Love]

Did you talk about the facts about the. It sold 500,000 copies in 1969. It was certified gold in sales. It peaked to number 13 on Billboard 200, and it stayed on the chart for nearly two years. In 1986, it sold over a million copies, and it was certified platinum. And then it went on to sell another 3 million copies, becoming one of the most successful albums of the 1960s. So it really is. I mean, it's, it's a great album to listen to, really is.

[Josh Adam Meyers]

If you haven't listened to this, I mean, what a great episode too. This is so much fun. I love having you on, but it's like, if you haven't, if you have not listened to this record, man, it's like, what are you doing, dude? Like, why would you.

[Lonnie Love]

Music history, you got to listen to this. If you, if you say you're a true music fan and if you wanted to understand that this is like, like I, like we said earlier at the beginning, I. I need to find music that is like this of today to kind of give me the push that I need, because that's what I'm looking for. I'm looking for artists that can still give you the. The music with a message. That's what we'll call it, music with the message. And that's what this is to me.

[Josh Adam Meyers]

And if there was ever a time to listen to a record like this, that crazy in that. Isn't that insane that history just keeps repeating itself. It is not progressive like we thought in the Age of Enlightenment. That's the only thing I got from like all I've ever learned from that, that course history and everyone. It was, I don't know, it was philosophy or it was intro to Philosophy or it was like European history. It was like. It was like in the Age of Enlightenment. They thought history was, it was going to be. It never. It was constantly changing, but it was progressive. But nope, it'll repeat itself because we're idiots. And, and we are right back to where we were 50, 60 years ago. Just maybe, you know, can you believe it? Just a little bit shinier. Just a little bit shinier. Like they, they just, they cleared. They, you know, they put a little shine on the, on the piece of doo doo, but it's, it's still doo doo, man.

[Lonnie Love]

It's, it's, it's. It's messy. Democracy is messy and democrat, but democracy is worth it. And you know, you're always going to have the artists that understand it and realize it and hopefully they don't get driven crazy trying to get their message.

[Josh Adam Meyers]

Out, you know, and if there is somebody, people out there that any of the fleece army people listening that, that if you have, I mean, we would. I would love to know who's carrying the torch and pushing and pushing music into the direction of, you know, where. Excuse me, where you're still saying yeah, but. Yeah. Lonnie, please come back. This is always so fun to have you on.

[Lonnie Love]

Always fun being with you, Josh. I love it too.

[Josh Adam Meyers]

Thank you. Dude, you're. You're really gassing me up, dude. I love this.

[Lonnie Love]

I love it. I love it.

[Josh Adam Meyers]

Yeah, I mean, it's, It's. It's perfect. Let's do the final question. Let's get you out of here. What's your favorite song on this record?

[Lonnie Love]

It would have to be Stan. I really do like Stan.

[Josh Adam Meyers]

Yeah, the message, it's everything we said, talked about. Obviously, for me, it's. I want to take you higher. But I mean, everyday people would. Would probably be a close second because of that. Yeah, but. But I mean. But I want to take you higher. Like I said, it's like a second this is over. I'm putting it on and I'm cooking some poached eggs. Yeah, I eat poached eggs. Everybody. Took me fucking 46 years to learn how to do it, but I fucking kill it now. Kill it. I'm so good at it.

[Lonnie Love]

How do you do it?

[Josh Adam Meyers]

Just. You get a big pot and you fill it up about an inch and a half. So I always go to about mid finger right here. And then with cold water, then I put a tablespoon, usually a little bit more of white vinegar, heat it up to a boil. Then I get my oven cooked. I put my toast in. When that gets down to six minutes, then I put the. Then I crack each egg in a container in a little, like, cup thing, and I turn it down to. I turn this. The heat off, and then I just put one egg in at a time, cover it with no heat. But now the water's still boiling. And then at four minutes, I usually go a little earlier. I just take one out, put it on a paper towel, get the water off, dab it, and then put it on the toast. And. And if. And in a perfect world, it's. The whites are cooked and the yolk is runny, but there's a little. But there's a little bit of the yolk that's still cooked, but there's still a nice. A nice. Because I think an egg yolk is the best sauce. Is. Is. It's like. It's like. It's like God sauce. Yeah, it's like this. It's like the most natural. Like, you know, it's. That's why I could never be vegan. I could be vegetarian, but I couldn't be vegan because I. I love eggs and I think eggs are not. It's not. It's. It's. Dude, it's like, yeah, you're not killing anything. It's already dead. It's like. It was literally. And it was. I don't want to say the word. We know what it is. It's a chicken. Not to be confused, but don't call me. It's a different. Either way. And that's it. There'll be a Patreon episode of me cooking poached eggs. Why did I give it away for free? Is there anything on this album that you skip over, or is this album a no skip?

[Lonnie Love]

I think the ones that you skip, yeah, you can skip, you know, because they're really very, very powerful. So I think that, like, the last. The last track and. And the track. Let me see the last track. You can make it if you try. It's a nice track. But. Yeah, you know, once you hear everyday people, you kind of like, okay, I'm. I'm good. And Sex Machine, you just leave on if you just doing something in the house.

[Josh Adam Meyers]

Yeah, Yeah.

[Lonnie Love]

I can only say that one.

[Josh Adam Meyers]

Can you. To this album.

[Lonnie Love]

I think, Sex Machine, you definitely can. I don't think you want to. I don't think you want to. Don't call me.

[Josh Adam Meyers]

How great would that be? An interracial couple while that song's on.

[Lonnie Love]

I know, I know. You might want to fight. So. Yeah.

[Josh Adam Meyers]

Oh, my God, that would be hilarious. And. And what would be your. Your elevator pitch? Like, how do you sum this record up? How do you get someone to listen to this album that's never heard it before?

[Lonnie Love]

If you want to take a trip back into the 60s at a time when you want to find out what was going on and how people felt, this is the type of album. It's so gospel, psychedelic font, and it's. It has a purpose. There is a message in this song. So I would say listen to it.

[Josh Adam Meyers]

Yeah, I think. I think this is a record that feels. That feels like a moment when someone honestly believed music could almost, like, hold people together, but not. But. Though. But not by being polite and not by being safe, but by being real. And so it's almost like joy with teeth and it's optimism, like with a backbone, almost.

[Lonnie Love]

Well, I know we have to go, but I. You know, it's kind of like we just had the Grammys, and it was funny because you had people that were, you know, they were. They were making their political statements, but it was like out of all those songs that won this year, there was none that was actually making a statement to me. Not anything that.

[Josh Adam Meyers]

It's so funny that you said that. There was a video that this dude, this Asian guy posted about. I watched the Grammys and I think we're done with music. I think everything's been done already. Now he's like, we're not. We shouldn't be impressed by music. We should be more impressed by these forklifts. And he's like showing like. He'd be like. He'll be like, you know, this is the song by that, that new group that like, there's that group of like five women that are all trying to be Korean girls that are trying to be black girls. It's like a K pop group, whatever they're called their songs, gnarly or whatever. And yeah, the, the showmanship. The dance number was like the main part of the song. The song was. It was just them dancing. So it's like, is that the. It's. It's the Grammys, not the dance awards. And he just goes off and he's like, we're impressed by this. Well, we should be impressed that this machine can lift over eight tons. It's just. He does this comparison and it was just so funny.

[Lonnie Love]

Yeah. I will. I will say that maybe out of all the people that actually won the top awards, maybe Kendrick, he tries to do the message in his music, but you know, to stand there and be like, don't do this. I'm like, we need more. We need more from our music and from our artists. I believe.

[Josh Adam Meyers]

I. You know, and there are people. There's people out there doing it. There's that guy. I mean, there's that guy that, that folk singer dude that he. And Jesse Wells, I think his name is. And he keeps writing these great like bluegrassy, country esque, Americana and shit. Country, Americana songs about what's going on in the world. And it's like, about making, you know, talk about his song Join Ice. And it's literally talking about how these are like, these are former proud boy idiot bullies and how it's like, like it's like the. It's like almost the pitch song. And it's brilliant and there's a message and it's extremely popular. And I think now he's finally to get recognized for it. I mean, there aren't, you know, the, there's. There. We need another John Prine.

[Lonnie Love]

We need.

[Josh Adam Meyers]

We need these guys that, that will. The Dylan's, you know, and Dylan might be too old now. The con, like, not Kanye is the. The Kendricks like you said, there are people. It's just, it's just people don't.

[Lonnie Love]

Well, it's the class.

[Josh Adam Meyers]

I don't think people, I don't think people want to hear it. I don't think people, I think they want their music to be like, like rainbows, lollipops and bingos. They don't want, like, you know, we did yesterday, we did the Harder They Come by, you know, by Jimmy Cliff. And it's reggae. And it was like it's the same thing as this where it's like you don't realize you're getting. You think reggae is like, you know the, you think when you listen to music, you think it's like sit on the beach and drink a Corona. But it's really like, but it's really. I grew up poor. My mother has mesothelioma. But it sounds so good. But that's the thing. Lonnie, I love you. Promote away, please. What do you have going on? Just so we make sure we get everything and we'll do it at the beginning as well. But please.

[Lonnie Love]

Thank you. Please check out all my tour days. I am on the road hard@lonnie love.com. i'm also opening for Martin Lawrence, the legend. So all those dates are on Lonnie Love dot com. Come and keep supporting live comedy.

[Josh Adam Meyers]

Please, dude, please. And I'll say this, and I've said it before you so crazy by Martin Lawrence is. I mean top three specials of mine. You know, I mean me and Big J Okerson, we always get, we quote the. I said good morning to you. I said good morning to you. What do you want to do today? Let's get it on. I can imagine.

[Lonnie Love]

Man.

[Josh Adam Meyers]

We got a reason to believe you got someone hiding in the buzz. Why would you think that? Because there's a goddamn Nike shoel coming out your sweating profusely. I guess everybody wanted to wear the leather outfit after Eddie, but God damn. And Martin pulls it off. But that is drenched.

[Lonnie Love]

He is still wearing that leather too.

[Josh Adam Meyers]

God bless him. God bless. I swear to you, I'm telling you, Lonnie, I, I, that it's, that's what, that's a, that is a, that is a, that is a life changing comedy special for me. And what a, what a blessing. You're so funny. What a great tour to be on. You know, we'll party again soon. Trust me. I would, I would love to come have you back on the, the, the Comedy Store show that I do. But enjoy it and we'll definitely get you back on. Thank you so much for coming on.

[Lonnie Love]

Definitely. Thank you, Josh. Good talking to you.

[Josh Adam Meyers]

What I tell you? What I tell you. The one and only Lonnie Love follower on Instagram at Comicloni Love, Go to her website, lonnielove.com and for all things Lonnie, like I said, go to that website and get that memoir I tried to change so you don't have to. For new music this week, Distrokhrid has brought you the Car Alarm by Landlady. We got the links on our website, the 500podcast.com. That's what you're listening to here. And if you want your song played on the pod, send us your song to 500podcastmail.com, put the artist and album to influence you in the subject line. Next week, it's the Sweetheart of the Road rodeo. I don't know if we have a guest. I can smell a Fetterman. I'm gonna hit a Fetterman right now. All right, see you then, guys. Runs down the hits. We'll sing along to it. We'll walk it off. We'll walk it off. Third time's the charm. Say a little prayer Pull over there make love for lost time. We flying blind Made up our minds when we were thinking right Come up for air with bro. As the crow flies Fourth times the charm Nowhere to go Lost time can't harm me. I. Baby Left turn, left. Turn left. Beat ourselves to the promised land I can take a punch Just tell me where it's gonna. He whistled along to a song I didn't know. The 500. Keeping it fleecy for the fleece nation on the 500. The 500. Podcasts.