I Want to Take You Higher_ The Life and Times of Sly & the Family Stone - Jeff Kaliss [44]
Apart from the myths about its creation and critical commentary on its content, it's entirely possible, and certainly advisable, to appreciate Riot for its good tracks, not necessarily better or worse than any other part of Sly's output, and for its imagination and spirit, as well as for its significant, if not singular, place in the evolution of Sly's music and popular music in general. Also memorable are the artful lyrics, presenting an unglossy examination of personal relationships, rare in rock. ("Family Affair," often judged as melancholy, actually showcases scenes of positive family values alongside those of interpersonal insecurity.) It's important to realize that Riot didn't signal a complete or permanent darkening of Sly's expression. Despite his continuing dependence on drugs over the next decade, several of the albums recorded by Sly during that period exhibit considerable brightness, both musically and lyrically
In a recent interview for this book, Sly himself talks about an influence on the album unfamiliar to most, from within the record business. "People were coming from all different kinds of record companies," he points out. "People were talking to different people in the group, and telling me that I didn't need this person or that person, or telling [the group's members] how they didn't need this or that person. They break you up so they can have different concerts every night, and make everybody different stars, with different record sales. Those record companies have people (and I won't say their names right now) whose job was to infiltrate inside an organized musical endeavor and separate and divide it up." Sly says he tried to warn his colleagues about this purported threat, but they "really weren't seeing it. They were like, `They don't really mean that, do they?' and I was, `Yeah, that's what they mean."' He hopes that reflective fans will "put things together and notice that, `Oh yeah, when that record was out, that's when they got separated, and that's when that argument started."'
Sly couldn't deny, though, that the breakup of the band, however encouraged by outside forces, was also seriously exacerbated by misuse of drugs. He may have been controlling the distribution of cocaine to those around him, but that kind of activity inevitably spins out of control. The strain of induced ups and downs on Bel Air Road simultaneously prompted both Sly's self-centered approach to music making and his band members' alienation from him. And drugs deteriorated Sly's sense of professional and financial responsibility.
Al DeMarino has his own take on Sly becoming more dependent on substances during this phase: "Between the pressure of stardom, family pressure, social pressures, cultural pressures, and a habit that was becoming consuming, it made for a difficult moment in time." Al and some others at Columbia and Epic attempted interventions with Sly. "There were discussions with him, and eventually he tried rehab programs. Perhaps it would have been better for all of us, starting with him, if he had started sooner. [Drugs] altered his personality upon occasion. Those who loved him dearly were hurt, because it changed him in a certain way. He wasn't as positive and as open and warm as he had once been.... It would hurt me.... I would talk to him, others would talk to him-as opposed to the hangers-on, who were always looking to get some free blow-and I would say, `Sylvester, what are we doing here?' And he'd respond, `I know you love me, and I'm in control.' Famous last words."
In conversation with Joel Selvin, Bubba Banks testified how he had functioned as the "pit bull that lived good" at