Sly and the Family Stone There's a Riot Goin on

1971 studio album past Sly and the Family Rock

There's a Riot Goin' On
Studio album by Sly and the Family Stone
Released	November 1, 1971
Recorded	1970–71
Studio	The Record Constitute (Sausalito)
Genre	Funk psychedelic funk[1] [2] avant-pop[3] avant-soul[4] deep funk[5]
Length	47:33
Label	Epic
Producer	Sly Stone
Sly and the Family Stone chronology
Greatest Hits (1970) There'due south a Riot Goin' On (1971) Fresh (1973)
Alternative cover
1986 LP reissue[six]
Singles from There's a Riot Goin' On
"Family Affair" Released: Nov 6, 1971 "Runnin' Away" Released: February 5, 1972 "(You Caught Me) Smilin'" Released: April 22, 1972

There's a Riot Goin' On (sometimes referred to every bit Riot ) is the fifth studio anthology by American funk and soul band Sly and the Family Stone. It was recorded from 1970 to 1971 at Record Plant Studios in Sausalito, California and released later that year on November 1 past Epic Records.^[7] The recording was dominated by band frontman Sly Rock during a flow of elevated drug utilise and intra-group tension.

For the anthology, Sly and the Family Stone departed from the optimistic psychedelic soul of their previous music and explored a darker, more challenging audio, employing edgy funk rhythms, archaic pulsate machines, extensive overdubbing, and a dense mix. Conceptually and lyrically, At that place's a Riot Goin' On embraced apathy, pessimism, and disillusionment with both Rock'south fame and 1960s counterculture amid a turbulent political climate in the United States at the turn of the 1970s, influenced by the decline of the ceremonious rights movement and the rise of the Black Power movement. The album's title was originally planned to be Africa Talks to You, but information technology changed in response to Marvin Gaye's album What's Going On (1971), released six months earlier Riot.^[8]

A commercial success, There's a Riot Goin' On topped the Billboard Pop Album and Soul Album charts, while its lead single "Family Affair" reached number-one on the Pop Singles nautical chart.^{[ix] [ten]} The album was eventually certified platinum by the Recording Industry Clan of America (RIAA) for sales of at to the lowest degree one 1000000 copies in the United states of america.^[xi] Originally released to mixed reviews, the album has since been praised equally one of the greatest and most influential recordings of all time, having impacted the funk, jazz-funk, and hip hop genres in particular. Information technology ranks often and highly in many publications' best-album lists,^[12] including Rolling Stone 's "500 Greatest Albums of All Time", on which it placed 99th in 2003^[thirteen] and 82nd in 2020.^[fourteen]

Background [edit]

Having accomplished great success with their 1969 album Stand up! and performance at Woodstock, Sly & the Family Stone were due to have submitted an album of new recordings to Epic Records by 1970. Yet, Sly Rock missed several recording deadlines, worrying CBS executive Clive Davis, and a Greatest Hits album was released in an eighteen-calendar month stretch during which the ring released no new material, except for the unmarried "Thanks (Falettinme Be Mice Elf Agin)". Relationships within the ring were deteriorating, with friction between the Stone brothers and bassist Larry Graham.^[17]

Epic executives requested more product from the band,^[18] and the Black Panther Party, with which Stone had become associated, was demanding he brand his music more militant and reflective of the black power movement, that he replace drummer Greg Errico and saxophonist Jerry Martini with black instrumentalists, and replace manager David Kapralik.^{[18] [xix]} After moving to Los Angeles, California in tardily 1969 Stone and his bandmates began to utilise cocaine and PCP heavily rather than recording music. During this time Sly & the Family Stone released only one unmarried, "Thank You lot (Falettinme Be Mice Elf Agin)" / "Everybody Is a Star", issued in December 1969.^[xx] Although "Star" was a positive song in the vein of their previous hitting "Everyday People" (1968), "Thank You" featured a darker political theme.^[21]

Past 1970, Stone had go erratic and moody, missing nearly a third of the band's concert dates.^{[22] [23]} He hired streetwise friends Hamp "Bubba" Banks and J.B. Brown every bit his personal managers, and they enlisted gangsters Edward "Eddie Chin" Elliott and Mafioso J.R. Valtrano every bit his bodyguards. Stone assigned these individuals to handle his concern dealings, discover drugs and protect him from those he considered enemies, among them his own bandmates and staff.^[24] A rift developed betwixt Sly and the rest of the band, which led to drummer Gregg Errico'due south departure in early 1971.^[25] Speculation arose as to the release of new studio cloth. In a Dec 24, 1970 article for Rolling Stone magazine, journalist Jon Landau wrote:

The man from Ballsy tells me that Sly hasn't recorded much lately. His last album of new textile was released well over a year ago and even 'Thank You', his last unmarried, is erstwhile past now. Greatest Hits was released only as a final resort in order to go something salable into the record stores. Information technology was a necessary release and stands every bit the final tape of the first chapter in Sly & the Family unit Stone'south career. Whatsoever the reasons for his recording abstinence, I promise it ends before long so that he can get back to making new music and we tin go back to listening to it.^[26]

Stone's intention of a darker, more conceptual work was influenced by drug employ and the events that author Miles Marshall Lewis called "the decease of the sixties"; political assassinations, police brutality, the reject of the civil rights movement and social disillusionment.^[27] According to The Austin Chronicle, "slowed downwards, [Sly's] quest for post-stardom identity mirrored black America'due south quest for post-Sixties purpose."^[28]

Recording and production [edit]

Sly Stone by and large worked on At that place's a Riot Goin' On alone in a studio that he had built for himself at The Plant Studios, also known as The Record Plant, in Sausalito, California, or at his abode studio in the loft of his Bel Air mansion. He would oft lie down in the bed and tape his vocals with a wireless microphone system.^[29] Co-ordinate to the other Family Rock members, about of the album was performed by him alone, overdubbing and sometimes using a drum auto to lay down beats,^[29] namely the Maestro Rhythm Male monarch MRK-two, which featured preset rhythms.^[30] Rock felt that the rhythm box fabricated unrealistic sounds if used as designed, so he resorted to overdubbing the drum sounds manually,^[29] contributing to the dense mix.^[30]

Other band members contributed past overdubbing alone with Sly instead of playing together as before. For "Family Affair" and some other selections Stone enlisted several other musicians including Baton Preston, Ike Turner, and Bobby Womack instead of his bandmates, and several female vocalists more often than not omitted from the concluding mix. The album's dingy, gritty sound was due in part to this overdubbing and erasing and mixing techniques nigh drowned out undubbed sounds. Miles Marshall Lewis stated, "Never before on a Sly and the Family Stone album were songs open to so much interpretation, and even more so, dripping with cynicism. On the other hand y'all can hardly hear what he's proverb for most of the anthology. Like Radiohead'south Kid A or fifty-fifty the Rolling Stones' Exile on Principal St. more recent to the time, a murkiness in the mix of the record inhibits complete comprehension of the words."^[29]

In the autumn of 1971 Stone delivered the final mixes to the CBS Records offices, relieving the worried Davis.^[31] CBS issued "Family Affair" as the beginning single, the ring'south starting time in almost two years.^[31] A somber, electric pianoforte-based record sung by Sly (in a low, relaxed tone) and sister Rose Stone, it became their fourth and terminal number-one pop hit.^[32] It is one of the earliest hit recordings to use a pulsate machine – a slightly earlier Sly Rock production, Little Sister'due south "Somebody's Watching You", was besides among the first.^[29]

Music and lyrics [edit]

The album departs from the optimistic psychedelic soul sound of the group'southward 1960s records, instead embracing a darker sound featuring filtered drum-auto tracks.^{[33] [34]} Songs such as "Luv 'northward Haight", "Thank You lot for Talking to Me Africa", and "Spaced Cowboy" are characterized past edgier, unrelenting grooves with rhythmic sounds resembling murmuring noises.^[35] Conceptually, Riot embraces apathy as a source for deriving rhythmic and emotional energy, departing from the more welcoming sentiments of songs like "Trip the light fantastic to the Music" (1968).^[4] Every bit The New York Times writer Jon Pareles explains, it was "virtually turning abroad from the mail service-1960s turbulence of the Nixon presidency and withdrawing into music equally a hazy refuge", exemplified in the opening track "Luv n' Haight" and its declaration of "Experience then skillful within myself, don't want to move".^[36]

"Luv north' Haight" is satirically titled as a reference to the Haight-Ashbury scene, while the music and lyrics express disillusionment with the 1960s counterculture.^{[37] [38]} BBC Music 's Stevie Chick cites the track, with its "desperate telephone call-and-response set to fiercely combative lick", as an instance of Riot 's "dark" and "troubled" funk.^[35] "Africa Talks to Y'all" is a nine-minute funk jam written in response to the backlash Sly Rock received from estranged fans and friends, tape manufacture assembly, and the media.^[39] According to biographer Eddie Santiago, the lyrics cynically portray "fame and its cold retrogression into perceived insanity", with a chorus that reflects "Sly's feelings on being cut downwards in his prime like a tree in the forest."^[39]

The album'due south title track is silent and listed as zero minutes and goose egg seconds long. For many years information technology was speculated that this ambiguous track listing and the title of the album referred to a July 27, 1970, anarchism in Chicago for which Sly & the Family unit Stone had been blamed. The band was to play a gratuitous show in Grant Park only the crowd became restless before the band began and started rioting. Over a hundred people were injured, including several constabulary officers, and the reason given to the press was that the band was tardily and/or refused to perform.^[twoscore] The original LP jacket featured a photograph collage with a picture of the ring-shell in Grant Park overlaid with a photo of a police car. However, in 1997 Sly Stone said that the "There's a Riot Goin' On" track had no running time simply because "I felt there should be no riots."^[41]

The closing track "Cheers for Talking to Me Africa" is a boring reworking of Sly and the Family Stone's 1969 "Thank You" unmarried. The issue is described past AllMusic's Matthew Greenwald every bit a blues- and gospel-influenced examination of urban tension and the end of the 1960s. He goes on to say it is "peradventure the almost frightening recording from the dawn of the 1970s, capturing all of the drama, ennui, and hedonism of the decade to come up with almost a clairvoyant feel."^[42]

Artwork [edit]

The original cover art for Riot featured a cerise, white, and blackness American flag with suns in identify of the stars. No other text or titles appear on the encompass, although Epic executives added a "Featuring the Hit Single 'Family Affair'" sticker to the LP for commercial viability and identification purposes. Family Rock A&R manager Steve Paley took the photograph.^[8] Three of the custom flags were created: 1 for Sly, ane for Ballsy Records, and one for Paley.^[43]

In an interview with Jonathan Dakss, Rock explained the album cover'southward concept, stating "I wanted the flag to truly stand for people of all colors. I wanted the color black because it is the absenteeism of color. I wanted the colour white because information technology is the combination of all colors. And I wanted the color red because it represents the 1 thing that all people accept in common: blood. I wanted suns instead of stars considering stars to me imply searching, like you search for your star. And in that location are already also many stars in this world. Simply the sun, that's something that is always in that location, looking right at you. Betsy Ross did the best she could with what she had. I thought I could practice better."^[29]

The outer anthology sleeve features a photo collage, by artist Lynn Ames, depicting American cultural images of the early 1970s. Featured on this collage were colour photos and black & whites of the Family Stone, the Capitol, a grinning male child in plaid pants, the American flag with a peace sign in place of the stars, the Marina City twin towers of Chicago, a Department of Public Works caution sign, a slice of the Gettysburg Address, the tail terminate of a gas guzzler, drummer Buddy Miles, the Lincoln Memorial, soul musician Bobby Womack, a bulldog, several anonymous smiling faces, and Sly's pit bull, Gun.^[8]

Reception and legacy [edit]

Retrospective professional reviews

Review scores
Source	Rating
AllMusic	[44]
Christgau's Record Guide	A+[45]
Encyclopedia of Pop Music	[46]
The Guardian	[47]
PopMatters	8/x[4]
Q	[48]
Rolling Rock	[49]
The Rolling Stone Album Guide	[50]
Stylus Mag	A[51]
Uncut	[52]

There'southward a Riot Goin' On was met with a divided reaction from fans and music critics, who were non used to the album's production and lyrical content. Los Angeles Times writer Robert Hilburn expressed a mixed response towards the band'southward stylistic change from "soulflavored" songs such as "Everyday People" and "Hot Fun in the Summer", stating "in that location is lilliputian on the album that is worth your attention".^[53] Other major music publications praised this new direction: in his review for Rolling Rock magazine, Vince Aletti wrote that "At outset I hated it for its weakness and its lack of free energy and I still dislike these qualities. But then I began to respect the album's honesty".^[54] Aletti cited it as "one of the nigh of import fucking albums this twelvemonth" and "the new urban music... non about dancing to the music, in the streets. It's about disintegration, getting fucked up, nodding, maybe dying. There are flashes of euphoria, ironic laughter, even some bright stretches but mostly it's but junkie death, oddly unoppressive and near attractive in its effortlessness".^[54] A columnist for Striking Parader magazine gave Riot a favorable review, and stated that the album has "a lot that makes Sly the in-person rave that he is."^[55] In The Village Vocalization, Robert Christgau said "what's expressed is the bitterest ghetto pessimism", backed by "subtle product techniques and jarring vocal compositions". He alleged Riot "1 of those rare albums whose whole actually does exceed the sum of its parts".^[56] Greil Marcus called the record "Muzak with its finger on the trigger."^[13]

There's a Anarchism Goin' On was included on several music publications' "Terminate of the Year" lists and critics' polls, including The Hamlet Voice 'south Pazz & Jop albums list at number 7.^{[12] [57]} The anthology achieved commercial success with two hit singles and debuting at number-one on the Billboard Pop Albums and Soul Albums chart.^[9] Information technology later came to be viewed by critics as one of the greatest and most influential albums.^[12] Christgau wrote in 2007 that the "temptations and contradictions" of commercial distinction consumed Sly Stone and resulted in "the prophetic 1971" anthology, "its taped-over murk presaging Exile on Main St., its drum-automobile beats throwing knuckleballs at [Miles Davis] and [James Brown], it was darker than the Velvet Clandestine and Nico and funkier than shit, yet somehow it produced two smash hits, including the stark, deep 'Family Affair'."^[49] AllMusic described the album as "funk at its deepest and most impenetrable," stating that "what makes Riot so remarkable is that information technology'southward hard non to go fatigued in with him, as you're seduced by the narcotic grooves, seductive vocals slurs, leering electric pianos, and crawling guitars."^[44] Zeth Lundy of PopMatters deemed it "a challenging listen, at times rambling, breathless, anomalous, and just apparently uncomfortable" with "some episodic moments of pop greatness to be institute". Lundy went on to discuss its radical departure from the band's past music:

"[It] sank their previously burgeoning idealism at a time when social disillusionment was all the rage. Sly had found something else to take him college and, as a result, Riot is a tape very much informed by drugs, paranoia, and a sort of halfhearted malcontent ... listening to information technology isn't exactly a pleasurable experience. Information technology's significant in the annals of pop and soul considering information technology is edgeless and unflinching, because it reflects personal and cultural crises in a fashion unbecoming for popular records at the fourth dimension. Anarchism can be classified every bit avant-soul merely after being recognized as a soul nightmare—the 'nightmare', then to speak, beingness a reflection of an unfortunate and uncompromised reality, non a glossed-over pop-music approximation of reality."^[4]

There's a Riot Goin' On has been considered one of the first instances of the funk music later popularized by George Clinton and Funkadelic, the Ohio Players, and similar acts. The album, every bit well as the follow-ups Fresh and Pocket-sized Talk, are considered among the first and best examples of the matured version of funk music, afterwards prototypical instances of the sound in Sly & the Family Stone's 1960s work.^[58] Anarchism 's sound also helped inspire Miles Davis and Herbie Hancock to crossover to jazz-funk.^[59] It was chosen "a masterpiece of darkly psychedelic funk" by AllMusic contributor Steve Huey,^[ane] and "a astounding, muddied, psychedelic funk album" past Drowned in Sound announcer Jon Falcone, who said it soundtracked the political and social turbulence that opened the 1970s.^[2] Paul Grimstad from Brooklyn Rails regarded it equally a "frigid still weirdly intimate" avant-pop tape.^[iii]

In 1994 In that location's a Riot Going On was ranked number fourteen in Colin Larkin's Height fifty Soul Albums. Larkin described the album equally "dissimilar anything heard before in blackness music".^[60] A 2003 article for Rolling Stone commented; "Sly and the Family Stone created a musical utopia: an interracial grouping of men and women who blended funk, rock and positive vibes... Sly Rock ultimately discovered that his utopia had a ghetto, and he brilliantly tore the whole thing down on There'southward a Riot Goin' On, which does not refute the joy of his earlier music."^[61] In addition to being featured near the top of several major publications' "best album" lists, Riot was too ranked at number 99 on Rolling Rock 'southward 2003 list of the 500 Greatest Albums of All Fourth dimension, maintaining the rating in a 2012 revised list,^[62] one of 4 Sly & the Family unit Stone entries to be included on the list; it is the second highest of the band's entries, preceded by Greatest Hits (#60), and followed by Stand! (#118) and Fresh (#186).^[13] In the 2020 updated listing, the album was raised to number 82 and became the highest ranked of the 3 Sly & The Family unit Stone entries, ahead of Stand! (#119) & Greatest Hits (#343).^[fourteen] Pitchfork named it the quaternary best anthology of the 1970s.^[63]

Riot 'southward songs accept been extensively covered and sampled. Artists who have covered or reworked its songs include Iggy Pop, John Fable, Lalah Hathaway, Ultramagnetic MC'due south, De La Soul, Beastie Boys and Gwen Guthrie.^[64] Dave Rosen of Ink Blot mag said that the album sounds unique, ironically in view of its vast influence; "Sly employed the unconventional (and maybe entirely original) technique of mixing live drums with what was at the time a primitive drum motorcar ... The introspective, yet political lyrics, the difficult and dirty funk grooves, the inspirational, however depressing songs—all of these elements would come up to influence not only peers like Marvin Gaye and James Brown, merely two generations of rappers and funkateers who paid homage to Sly's vision by making his samples and beats an essential backbone of their own innovations. Sly'southward Riot is still goin' on."^[65] In a book on the anthology for the 33⅓ series, Miles Marshall Lewis described it as "one of the most powerful and haunting albums to inspire the hip hop movement."^[66] The vocalizer Bilal names it among his 25 favorite albums, appreciating the drum auto sounds in particular.^[67]

Rails listing [edit]

All tracks written, produced and arranged by Sylvester "Sly Stone" Stewart for Rock Bloom Productions.

Side i

No.	Title	Length
one.	"Luv N' Haight"	four:01
ii.	"Just Like a Babe"	5:12
3.	"Poet"	3:01
four.	"Family unit Affair"	3:06
five.	"Africa Talks to Y'all 'The Asphalt Jungle'"	8:45
6.	"There'due south a Riot Goin' On" (timed at 0:04 on compact disc)	0:00

Side 2

No.	Championship	Length
1.	"Brave & Strong"	3:28
two.	"(You Caught Me) Smilin'"	2:53
three.	"Fourth dimension"	iii:03
4.	"Spaced Cowboy"	3:57
5.	"Runnin' Abroad"	2:51
6.	"Thank You for Talkin' to Me Africa"	7:14

• Sides 1 and two were combined as tracks one–12 on CD reissues.

2007 CD bonus tracks

No.	Title	Length
13.	"Runnin' Abroad" (mono mix unmarried version)	2:44
14.	"My Gorilla Is My Butler" (instrumental)	iii:eleven
15.	"Do You Know What?" (instrumental)	7:xvi
16.	"That'due south Pretty Clean" (instrumental)	4:12

Personnel [edit]

Musicians [edit]

• Sly Stone – arrangements, drums, drum programming, keyboard programming, synthesizers, guitar, bass, keyboards, vocals
• Rose Stone – vocals, keyboards
• Billy Preston – keyboards
• Jerry Martini – tenor saxophone
• Cynthia Robinson – trumpet
• Freddie Stone – guitar
• Ike Turner – guitar
• Bobby Womack – guitar
• Larry Graham – bass, backing vocals
• Greg Errico – drums
• Gerry Gibson – drums
• Lilliputian Sister – backing vocals

Production [edit]

• Sly Stone – producer
• Engineers
  • Chris Hinshaw
  • Jack Ashkinazy
  • James Conniff
  • James Greene
  • Robert Gratts
  • Willie Greer
  • Rich Tilles
• Artwork (collage, cover design)
  • Lynn Ames
  • John Berg
• Photography (reissue)
  • Debbie King
  • Don Hunstein
  • Fred Lombardi
  • Howard R. Cohen
  • Joey Franklin
  • Linda Tyler
  • Lynn Ames
  • Ray Gaspard
  • Steve Paley
  • Sylvester Stewart

Charts [edit]

Weekly charts [edit]

Nautical chart (1971–72)	Superlative positions[9]
U.Southward. Billboard Popular Albums	1
U.S. Billboard Height Soul Albums	1
Canadian RPM Albums Nautical chart	4
UK Albums Chart[68]	31

Year-cease charts [edit]

Chart (1972)	Summit positions
U.S. Billboard Pop Albums[69]	45
U.Southward. Billboard Top Soul Albums[seventy]	ix

Singles [edit]

Year	Name	U.s.a.[71]	US R&B[72]	U.k.[68]
1971	Family Matter	1	i	14
1972	Runnin' Away	23	fifteen	17
	(Yous Defenseless Me) Smilin'	42	21	-

Run into besides [edit]

• List of Billboard 200 number-one albums of 1971
• List of Billboard 200 R&B number-one albums of 1972

References [edit]

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57. ^ Lewis 2006, pp. 98–105.
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59. ^ Lewis 2006, p. 27.
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Bibliography

• Kaliss, Jeff (2008). I Desire to Take Yous Higher: The Life and Times of Sly & the Family Rock. New York, New York: Hal Leonard/Backbeat Books. ISBN978-0-87930-934-3.
• Lewis, Miles Marshall (2006). There'due south a Riot Goin' On. Continuum International Publishing Grouping. ISBN0-8264-1744-2.
• Selvin, Joel (1998). For the Record: Sly and the Family unit Stone: An Oral History. New York, New York: Quill Publishing. ISBN0-380-79377-six.

External links [edit]

• There'southward a Riot Goin' On professional reviews at SuperSeventies.com
• Soul Survival: Music Reviews at The New Yorker
• Sly and the Family Rock - In that location's a Riot Goin' On (1971) album information and reviews on AllMusic

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Source: https://en.wikipedia.org/wiki/There%27s_a_Riot_Goin%27_On

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