photo: blu-news.org · cc by-sa 2.0 ↗Larry Graham grew up in Oakland playing piano, guitar, and drums in his mother Dell Graham's lounge trio before a broken-down organ's bass pedals nudged him toward the instrument that made him famous. When his mother pared the group down to a duo, Graham compensated for the missing drummer by thumping the bass strings with his thumb and popping them with his fingers — "thumpin' and pluckin'," the technique the world came to know as slap bass. He carried it into Sly and the Family Stone from 1967 to 1972, anchoring "Dance to the Music" and "Thank You," then built the funk powerhouse Graham Central Station and, in 1980, scored a solo crossover hit with the romantic ballad "One in a Million You."
While attending college in the early 1960s, Graham worked dates as a backing musician for John Lee Hooker, absorbing up close, night after night, the way Hooker could ride a droning, hypnotic groove far longer than a pop song was supposed to and never lose the room.
listen forHooker's "Boogie Chillen'" leans almost entirely on one insistent, droning rhythmic idea repeated into a trance — a similar willingness to let a single deep-pocketed bassline just churn is what carries Graham's own "It's Alright," where the groove itself, not a chord change, is the whole point.
Graham also spent nights on the circuit backing Jackie Wilson, watching a singer built entirely around dynamic, full-throated vocal swings well before Graham ever stepped up to sing lead himself. When he launched his solo career in 1980, he set the thumping funk workouts aside for pure, big-voiced soul balladry.
listen forThe pleading, ever-climbing vocal runs on Wilson's "Lonely Teardrops" anticipate the widescreen, romantic delivery Graham brings to his own "Your Love" — different decades, same commitment to a vocal that keeps reaching upward.
Graham's college-years résumé as a backing musician also includes stints with the Drifters, whose polished vocal-group harmonies and easy, danceable pop grooves were a staple of the circuit he was cutting his teeth on before Sly and the Family Stone.
listen forThe buoyant, strolling rhythm and sing-along group vocals of "Under the Boardwalk" sit close to the call-and-response party feel of Graham Central Station's "Can You Handle It?" — both built to get a room moving without ever raising its temperature too far.