Larry Graham Graham Central Station
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Out of Print: Future availability is unknown
- Released: 1996
- Originally Released: 1996
- Label: Warner Bros / WEA
- 1.We've Been Waiting
- 2.It Ain't No Fun To Me
- 4.We Be's Gettin' Down
- 5.Tell Me What It Is
- 6.Can You Handle It?
Graham Central Station: Larry Graham, Hershall "Happiness" Kennedy, Robert "Butch" Sam, Patryce "Chocolate" Banks, Willie "Wild" Sparks, David "Dynamite" Vega.
Personnel: Larry Graham (vocals, guitar, piano, Clavinet, organ, drums, percussion, background vocals); Patryce Banks (vocals, electric guitar, drums, background vocals); Hershall Kennedy (vocals, trumpet, Clavinet, wind, background vocals); Robert Sam (vocals, piano, organ, keyboards, background vocals); Willy Sparks (vocals, drums); Lenny Williams (vocals); David Vega, Freddie Stone, Freddie Stewart (guitar); P. Caboose (tenor saxophone); Milt Holland (percussion).
Audio Mixers: Lee Herschberg; Tom Flye.
Recording information: Record Plant, Sausalito, CA; The Record Plant, Sausalito, CA; Wally Heider, San Francisco, CA; Warner Bros. Studios, North Hollywood, CA.
Photographer: Herbert Greene.
Arrangers: Freddie Stone; Larry Graham.
Texas-born bassist Larry Graham changed the face of funk forever when he pioneered the thumb-slapping electric bass technique during his late-'60s tenure with Sly & the Family Stone. Subsequently, he set off on his own, starting Graham Central Station with ex-members of Hot Chocolate (of "You Sexy Thing" fame). GRAHAM CENTRAL STATION should strike a familiar chord with Sly Stone fans, as its all-in-the-family brand of greasy, progressive funk has much in common with Graham's former employer. Graham puts his thumb-popping style to good use on groove-centered tunes such as "Hair" and the Al Green R&B workout "It Ain't No Fun to Me." On "We Be's Gettin' Down," the interaction of the guitar, keyboards, and polyrhythmic percussion suggests the hazy, heady Sly of THERE'S A RIOT GOIN' ON. The ensemble vocals on "Tell Me What it Is" and the opener "We've Been Waiting" contribute further to the group aesthetic that was also at the heart of Sly's finest work.
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