Forever No. 1 is a Billboard series that pays special tribute to the recently deceased artists who achieved the highest honor our charts have to offer — a Billboard Hot 100 No. 1 single — by taking an extended look back at the chart-topping songs that made them part of this exclusive club. Here, we honor Sly Stone, who died on Monday (June 9) at age 82, by looking at the first of Sly & the Family Stone’s three Hot 100-toppers: the simple, yet profound “Everyday People.”
Sly & the Family Stone, a genre-fluid, interracial, mixed-gender group (at a time when all three things were unique) was formed in San Francisco in 1966. The group was led by Sly Stone, a musical prodigy who was just 23 at the time. His main claim-to-fame at that point is that he had produced a string of hits for the pop/rock group The Beau Brummels, including “Laugh, Laugh” and “Just a Little.”
Sly & the Family Stone made the top 10 on the Billboard Hot 100 in April 1968 with its first chart hit, “Dance to the Music.” That funky celebration of dance music wasn’t topical at all, but after the stunning events of 1968 – a year of assassinations, riots and a war without end in Vietnam – acts almost had to say something, and Sly & the Family Stone did on “Everyday People,” which was released that November.
The song is a plea for understanding and racial unity, which is so understated in its approach that it’s easy to lose sight of just how progressive its sentiments seemed in 1968. The record has a gentle tone and a disarming opening line: “Sometimes I’m right and I can be wrong/ My own beliefs are in my song.” Who ever starts out a conversation by conceding “I can be wrong?”
The sense of urgency and passion picks up on the proclamation “I am everyday people!” which is repeated three times during the song, and then on the call to action “We got to live together,” which is repeated twice.
Stone, who was born Sylvester Stewart, wrote and produced “Everyday People.” His genius move on this song was to simplify the discussion to the level of a childhood playground taunt – “There is a yellow one that won’t accept the Black one/ That won’t accept the red one that won’t accept the white one/ Different strokes for different folks/And so on and so on and scooby-dooby-dooby.” The unspoken, but unmistakable, message: Isn’t all this division really pretty childish?
Sly makes the point even more directly in the second verse: “I am no better and neither are you/ We are the same whatever we do.” The reasonableness of his argument instantly disarms any detractors.
The song’s politics are expressed most directly in the third verse, in the song’s depiction of counter-culture types vs. establishment types; progressives vs. conservatives. “There is a long hair that doesn’t like the short hair/For being such a rich one that will not help the poor one.”
The bridges of the song contain the line “different strokes for different folks,” which was initially popularized by Muhammad Ali. It became a popular catchphrase in 1969 (and inspired the name of a 1978-86 TV sitcom, Diff’rent Strokes).
Sly wisely kept the record short – the childlike sections, which are charming in small doses, would have become grating if the record had overstayed its welcome. The record runs just 2:18, shorter than any other No. 1 hit of 1969.
Three Dog Night took a similar approach on “Black & White,” which was a No. 1 hit in September 1972 – putting a plea for racial unity and brotherhood in simple, grade-school language. Three Dog’s record isn’t as timeless or memorable as “Everyday People,” but it shows Sly’s influence.
“Everyday People” entered the Hot 100 at No. 93 for the week ending Nov. 30, 1968. You might assume that a record this catchy and classic shot to the top quickly, but it took a while. In the week ending Jan. 11, 1969, it inched up from No. 27 to No. 26, looking like it might not even match “Dance to the Music”’s top 10 ranking. But then it caught fire. The following week, it leapt to No. 15, then No. 5, then No. 2 for a couple of weeks behind Tommy James & the Shondells’ “Crimson and Clover,” before finally reaching the top spot in the week ending Feb. 15.
It stayed on top for four consecutive weeks, the longest stay of Sly’s career. The song was of a piece with such other socially-aware No. 1 hits as Aretha Franklin’s “Respect” (1967) and The Rascals’ “People Got to Be Free” (1968).
“Everyday People” remained on the Hot 100 for 19 weeks, a personal best for Sly, and wound up as the No. 5 song of 1969 on Billboard’s year-end chart recap. The song was included on the group’s fourth studio album, Stand!, which was released in May 1969. The album reached No. 13 on the Billboard 200 and remained on the chart for 102 weeks – also a personal best for the group. The album, which also featured “Sing a Simple Song,” “Stand!” and “I Want to Take You Higher,” was inducted into the National Recording Registry in 2014 and the Grammy Hall of Fame in 2015.
The band included “Everyday People” in their set at Woodstock on Aug. 17, 1969. Fun Fact: It was the only No. 1 Hot 100 hit performed by the original artist during that landmark three-day festival.
The song is widely acknowledged as a classic. Rolling Stone had it at No. 109 on its 2024 update of its 500 Greatest Songs of All Time list. Billboard included it on its 2023 list of the 500 Best Pop Songs: Staff List. (We had it way down at No. 293, clearly proving the wisdom of Sly’s opening line, “Sometimes I’m right and I can be wrong.”)
While Sly was bedeviled by personal demons that shortened his run at the top, he lived to get his flowers. The band was inducted into the Rock & Roll Hall of Fame in 1993 (in its first year of eligibility). On his own, Sly received a lifetime achievement award from the Recording Academy in 2017.
Numerous artists covered “Everyday People” in the wake of Sly’s recording. Between 1969 and 1972, the song was featured on Billboard 200 albums by The Supremes, Ike & Tina Turner, The Winstons, Watts 103rd Street Rhythm Band, Supremes & Four Tops, Billy Paul and Dionne Warwick.
Spend any time on YouTube and you can also find cover versions of “Everyday People” by everyone from Peggy Lee to Pearl Jam (who performed it in concert in 1995). Other artists who took a stab at it: Aretha Franklin, The Staple Singers, William Bell, Belle & Sebastian, Maroon 5 (on a 2005 remix and cover album Different Strokes by Different Folks) and the unlikely team of Cher and Future, who covered it for a 2017 Gap ad that has recently gone viral.
A couple artists even had Hot 100 hits with their new spins on the song. Joan Jett & the Blackhearts covered the song in 1983 and took it to No. 37. Arrested Development drew heavily from the song for their 1993 hit “People Everyday,” which reached No. 8. (The song used the chorus and basic structure of the original, with new verses written by lead singer Speech.)
Sly & the Family Stone nearly landed a second No. 1 hit in 1969, but “Hot Fun in the Summertime” stalled at No. 2 for two weeks in October behind The Temptations’ “I Can’t Get Next to You.” “Hot Fun” wound up at No. 7 on the aforementioned year-end Hot 100 recap, making Sly the only act with two songs in the year-end top 10.
Questlove, who directed the 2025 documentary Sly Lives (aka The Burden of Black Genius), shared a touching tribute to the icon on Instagram on Monday. “Sly Stone, born Sylvester Stewart, left this earth today, but the changes he sparked while here will echo forever … He dared to be simple in the most complex ways — using childlike joy, wordless cries, and nursery rhyme cadences to express adult truths.”
That last part was a clear reference to “Everyday People.” Questlove also recalled what he called that song’s “eternal cry” – “We got to live together!” Said Quest: “Once idealistic, now I hear it as a command. Sly’s music will likely speak to us even more now than it did then. Thank you, Sly. You will forever live.”
Later this week: Two additional Sly & the Family Stone No. 1s take the group into darker and murkier territory, with similarly spellbinding results.
