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Sly Stone doesn't make good albums: only good records. His style is so infinite and revolves around so many crucial aspects that it has only come together perfectly on a handful of his singles.

Jon Landau

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Jon Landau
Age: 77
Born: 1947
Born: May 14
Composer
Journalist
Music Critic
Record Producer
Talent Manager
the United States of America
Around
Perfectly
Together
Albums
Revolves
Come
Stones
Sly
Many
Aspect
Singles
Make
Infinite
Handful
Good
Records
Aspects
Style
Crucial
Doesn
Stone

More quotes by Jon Landau

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Part of me believes that the completed record is the final measure of a pop musician's accomplishment, just as the completed film is the final measure of a film artist's accomplishments.
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Elton John himself never seems pretentious but Bernie Taupin's lyrics often do - sometimes pretentious in a clever sort of way, but pretentious nonetheless. There is a conflict between Elton's and Bernie's personal styles, no doubt about it.
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There is something complete about Stevie Wonder, and one senses that he is not only exceptionally important today, but will continue to be for as long as he chooses.
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Bob Dylan was the source of pop music's unpredictability in the Sixties. Never as big a record-seller as commonly imagined, his importance was first aesthetic and social, and then as an influence.
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The Rolling Stones have been the best of all possible worlds: they have the lack of pretension and sentimentality associated with the blues, the rawness and toughness of hard rock, and the depth which always makes you feel that they are in the midst of saying something. They have never impressed me as being kitsch.
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Atlantic's Jerry Wexler believes first-rate records are made by first-rate voices. He certainly has worked with enough of them: Clyde McPhatter, Joe Turner, La Vern Baker, Ray Charles, Otis Redding, Solomon Burke, Wilson Pickett and Aretha Franklin.
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I saw my rock'n'roll past flash before my eyes. And I saw something else: I saw rock and roll future and its name is Bruce Springsteen. And on a night when I needed to feel young, he made me feel like I was hearing music for the very first time.
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My ambition was to be a record producer, and I had started doing that in the late '60s with my work with the MC5 and my friend Livingston Taylor.
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The early Bob Dylan was compulsively drawn to the conflict between stability and the search for immortality.
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I saw rock n' roll future and its name is Bruce Springsteen.
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It didn't matter that Charlie Chaplin may not have been a great director or a great anything else. He made great movies.
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To her audience, Janis Joplin has remained a symbol, artifact and reminder of late Sixties youth culture. Her popularity never derived from her musical ability, but from her capacity to link her fantasies of freedom and immortality with ours.
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As a performing group, the Beatles began by playing old rock favorites, for dancing, to tough audiences in Liverpool and Hamburg. When they began writing seriously, they discovered that they couldn't compose in the early American rock tradition.
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It is by now beyond question that Elton John is a competent and classy entertainer. Few people who have achieved his popularity have succeeded in maintaining his standards for performance and professionalism.
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The Rolling Stones are violence. Their music penetrates the raw nerve endings of their listeners and finds its way into the groove marked 'release of frustration.'
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While the Beatles always had George Martin around to clean up their act, the Rolling Stones had Andrew Loog Oldham to coarsen theirs.
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Joni Mitchell seems destined to remain in a state of permanent dissatisfaction - always knowing what she would like to do, always more depressed when it's done.
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On first listening, Joni Mitchell's 'Court And Spark,' the first truly great pop album of 1974, sounds surprisingly light by the third or fourth listening, it reveals its underlying tensions.
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There is a 'patrician arrogance' to James Taylor that accounts in part for his popularity while it at the same time explains the critical resistance to his work.
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'Sing It Again Rod' touches all the solo bases since Stewart's departure from the Jeff Beck Band, wherein he cut his teeth on American audiences for $75 a week plus expenses, and wisely ignores his generally inferior work with the Faces.
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