Saturday, December 18, 1971

Sly & the Family Stone hit #1 with There’s a Riot Goin’ On

First posted 3/28/2008; updated 12/1/2020.

There’s a Riot Goin’ On

Sly & the Family Stone


Charted: November 13, 1971


Peak: 12 US, 12 RB, 31 UK, 4 CN, -- AU


Sales (in millions): 1.0 US, -- UK, 1.0 world (includes US and UK)


Genre: R&B/funk


Tracks:

Song Title (Writers) [time] (date of single release, chart peaks) Click for codes to singles charts.

  1. Luv N’ Haight
  2. Just Like a Baby
  3. Poet
  4. Family Affair (11/6/71, 1 US, 15 UK, 1 RB, gold single)
  5. Africa Talks to You “The Asphalt Jungle”
  6. Brave and Strong
  7. You Caught Me Smilin’ (4/22/72, 42 US, 21 RB)
  8. Time
  9. Spaced Cowboy
  10. Runnin’ Away (2/5/72, 23 US, 17 UK, 15 RB)
  11. Thank You for Talkin’ to Me Africa


Total Running Time: 47:15


The Players:

  • Sly Stone (vocals, multiple instruments)
  • Rose Stone (vocals, keyboards)
  • Billy Preston (keyboards)
  • Jerry Martini (tenor saxophone)
  • Cynthia Robinson (trumpet) Freddie Stone, Ike Turner, Bobby Womack (guitar)
  • Lary Graham (bass, backing vocals)
  • Greg Errico, Gerry Gibson (drums)
  • Little Sister (backing vocals)

Rating:

4.115 out of 5.00 (average of 17 ratings)


Quotable: “One of the great radical albums, and definitely the funkiest.” – Blender Magazine


Awards: (Click on award to learn more).

About the Album:

“It’s easy to write off There’s a Riot Goin’ On as one of two things – Sly Stone’s disgusted social commentary or the beginning of his slow descent into addiction. It’s both of these things, of course.” STERiotis one of the great radical albums, and definitely the funkiest” BL even as “Stone was teetering on the brink of self-destruction.” BL “His music never sounded more eclectic and expressive” BL and “civil disobedience never sounded like so much fun.” BL

“Pigeonholing it as either winds up dismissing the album as a whole, since it is so bloody hard to categorize. What’s certain is that Riot is unlike any of Sly & the Family Stone’s other albums, stripped of the effervescence that flowed through even such politically aware records as Stand!. This is idealism soured, as hope is slowly replaced by cynicism, joy by skepticism, enthusiasm by weariness, sex by pornography, thrills by narcotics.” STE

“Joy isn’t entirely gone – it creeps through the cracks every once and awhile and, more disturbing, Sly revels in his stoned decadence. What makes Riot so remarkable is that it’s hard not to get drawn in with him, as you’re seduced by the narcotic grooves, seductive vocals slurs, leering electric pianos, and crawling guitars. As the themes surface, it’s hard not to nod in agreement, but it’s a junkie nod, induced by the comforting coma of the music. And damn if this music isn’t funk at its deepest and most impenetrable.” STE “Every subsequent beat revolutionary, from De La Soul to Beck, owes him.” BL “This is dense music, nearly impenetrable, but not from its deep grooves, but its utter weariness.” STE

“Sly’s songwriting remains remarkably sharp, but only when he wants to write – the foreboding opener Luv N’ Haight, the scarily resigned Family Affair, the cracked cynical blues Time, and You Caught Me Smilin’. Ultimately, the music is the message and while it’s dark music, it’s not alienating – it’s seductive despair, and that’s the scariest thing about it.” STE

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Friday, December 17, 1971

David Bowie released Hunky Dory: December 17, 1971

Originally posted December 17, 2012.

image from popshifter.com


Tracks: (Click for codes to singles charts.) Changes (1/7/72, #41 US) / Oh! You Pretty Things / Eight Line Poem / Life on Mars? (6/22/73, #3 UK) / Kooks / Quicksand / Fill Your Heart / Andy Warhol / Song for Bob Dylan / Queen Bitch / The Bewlay Brothers

Sales (in millions): 4.0 US, 0.3 UK, 3.5 world

Peak: 93 US, 3 UK

Rating:


Review: “Bowie’s first great album was a visionary blend of gay camp, flashy rock guitar and saloon-piano balladry.” RS500 It “marks the beginning of the classic Bowie period.” AD “At a moment when no one knew whether David Bowie was a transvestite, provocateur, folk singer or space alien,” TL “the then 24-year-old released an album that slyly capitalized on the confusion.” TL His previous album, The Man Who Sold the World, had an “almost heavy-metal sound;” TB Hunky Dory saw Bowie return to “the acoustic guitar-based singer-songwriter sound of his earlier work.” TB

Life on Mars?

“What elevated the album…was Bowie’s newly developed and highly ambitious capacity for bridging the gap between highbrow and lowbrow art forms.” TB He “blends pop, dancehall, art-rock and folk for his most varied effort.” RV “Not only did the album boast more folky songs (‘Song for Bob Dylan,’ The Bewlay Brothers), but he again flirted with Anthony Newley-esque dancehall music (Kooks, Fill Your Heart).” AMG Bowie also crafted “the soaring Life on Mars?AMG which “placed him in deep space,” TL and “the dark acoustic rocker Andy Warhol.” AMG There’s also “the revamped Tin Pan Alley of Changes,” AMG which “proved he could write a great pop song about who he really (maybe) was.” TL

Changes

As for who Bowie really was, he’d “experimented with a number of personas” PR up to this point in his career and was now showcasing his ability to tackle “a kaleidoscopic array of pop styles” AMG as well. Hunky Dory mostly finds Bowie “in the guise of an early seventies singer-songwriter” PR who “wears his influences on his sleeve.” CS There’s his “Neil Young homage QuicksandAMG and Song for Bob Dylan, in which Bowie delivers “a powerful examination of the use of an alter ego to create art.” RV He also “inflects his words with a Lou Reed sensibility, as on Oh! You Pretty Things, a rallying cry for homosexuality,” RV and makes “a direct sound connection to the Velvet Underground with Queen Bitch.” CS Such songs “clarified his earthbound ambition to be a boho poet with prodigal style.” TL

Hunky Dory is a “quantum leap from his previous material.” AD “The playing and production and arrangements were all assured and professional.” AD “Mick Ronson came into his own…proving himself an adept arranger for strings as well as a fine guitar player. Keyboard superstar and then top session man Rick Wakeman provided fine piano and keyboard flourishes.” AD The latter’s “cabaret piano…dominate[s] the sound of the album.” AMG

Hunky Dory “is artistically the album that made the breakthrough for Bowie.” AD It “is not a concept album, but the concepts within would eventually solidify and manifest in the character of Bowie’s spaceman and perhaps even in his personal philosophies.” CS This album was also notable for being “the first to feature the line-up that would become the Spiders from Mars.” CS This is “suggestive of a dress rehearsal with Ziggy waiting impatiently in the wings for his understudy to vacate the stage.” PR “The themes and ideas scattered throughout the songs’ lyrics and arrangements set the stage for not only Ziggy Stardust, but for much of Bowie’s output in the ’70s.” CS

“On the surface, such a wide range of styles and sounds would make an album incoherent, but Bowie’s improved songwriting and determined sense of style” AMG give Bowie the distinction of “inventing – and perfecting – a new style of rock & roll glamour.” RS500 He created “a touchstone for reinterpreting pop’s traditions into fresh, postmodern pop music.” AMG


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Award(s):