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Review

“Miles Marshall Lewis's absolutely essential 33 1/3 on Riot tells a good part of the story―the disillusioned national mood after the Death of the Sixties, Sly's post-Woodstock ambivalence towards the fame he once craved, and his sonic turn towards introversion and quietude that manifested in muffled vocals and a restrained drum machine in place of Greg Errico's thunderous backbeat.” ―Nate Patrin, Pitchfork

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About the Author

Miles Marshall Lewis is founder and editor of Bronx Biannual, the journal of hip-hop literature. He has contributed to The Believer, Dazed & Confused, The Village Voice and many other publications. Lewis is author of Scars of the Soul Are Why Kids Wear Bandages When They Don't Have Bruises, a memoir. He currently lives in Paris, at work on The Noir Album: On Life in Multicultural Paris, due next year.

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Product details

Series: 33 1/3 (Book 32)

Paperback: 142 pages

Publisher: Continuum; 1 edition (February 25, 2006)

Language: English

ISBN-10: 0826417442

ISBN-13: 978-0826417442

Product Dimensions:

4.8 x 0.4 x 6.6 inches

Shipping Weight: 4 ounces (View shipping rates and policies)

Average Customer Review:

3.6 out of 5 stars

5 customer reviews

Amazon Best Sellers Rank:

#521,007 in Books (See Top 100 in Books)

completely satisfied w/ this purchase...very entertaining read.

Riot is one of my favorite records, and there has been very good articles about the chaoic making of this seminal LP. This is not one of them, in fact I think this one is a piece of garbage.The writer usually uses artists from today to a-historically connect the dots between a product of the early 70s and a product of the late 90s using passages like "Unlike the self-taught Diddy's sampling production for his early hits by the likes of Mary J Blidge, Sly had...." Please tell me what sense juxtaposing these two people makes at all as at the time of "There's a Riot Goin On" Sean Puffy Combs was 2 years old, and Mary J Blidge was barely born as well. Ugh, this writer always does this too. It is always the "Badu-ness" of this, the author making some imaginary link between Riot and LL Cool J's "Mama Said Knock You Out" or even the connection Sly has to Hip Hop via Freddy "Rerun" Berry on What's Happening. They must have paid this author by the word.As a reader, I know it was a seminal record or I wouldn't have bought the stinkin' book off the internet. So talk about the record, don't just blather on about Music and Social History you don't really know then lift all your relevant information from other already published texts.In the end, the writer lifts 80% of his informative information from the For The Record series by Dave Marsh. If you want to know about this record find the Marsh text that actually covers the entire arch of the band front to back or at least, find the Mojo article (which also draws heavily from the Marsh text, but is fairly hip about it).DO NOT BUY THIS BOOK!

Excellent

If not manual, then perhaps liner notes. THERE'S A RIOT GOIN' ON (1971) is one of those paradigm-shifting albums of which there is a before and after, musically speaking. Although the book has 117 pages of text -- lyrics take up the remainder of the 132 page paperback -- Miles Marshall Lewis actually doesn't begin discussing the album's tracks until page 86. That leaves a lot of space to set up the scenario for the album, mixing musical achievements, biographical info, and even gossip into a concise yet informative background study of Sly & The Family Stone. While some of the biographical details are sensationalistic (drugs blah blah blah more drugs), hopefully they won't obscure the brilliance of the group's music.The album itself is examined in detail, including an attempt to separate fact from fiction in regard to the personnel. For one, it turns out that all or part of the Family Stone is missing from much of the album, with Sly often playing the parts himself (or using such guests as Bobby Womack). The book gets into the details, but suffice to say that the original lineup of S&TFS came to an end at this point in time. Although there's probably more to the story that is known at this time, the author does a good job of detailing the album sessions, attempting to decipher the lyrics, and pointing out many of the ways that the album influenced pop culture. Perhaps one indication of the albums' importance regarding Sly's career is that eight of the cuts were lifted for the 2-CD THE ESSENTIAL SLY & THE FAMILY STONE. The book does have a few errors, and I disagree with some of the author's opinions (for one, I think HIGH ON YOU from 1975 is an excellent, highly-underrated album). Still, this book is recommended to anyone who wants more info about Sly and the album RIOT.

Here is a passage from this book: "Around the making of Riot things were as chaotic for Sly as they were for Dirk Diggler in the third act of Paul Thomas Anderson's Boogie Nights." I'm not kidding. This is typical of the entire book.After reading Douglas Wolk's excellent "James Brown Live At The Apollo" in this same series I was really looking forward to this. What a disappointment! Hardly a page goes by where the author doesn't try to tie Sly's legacy with modern rap music, as if Sly's impact on hip hop was ever in question. The writing style is trendy and cute and the author never misses a chance to include himself in the text. There is nothing here that can't be found in cd liner notes or David Marsh's "For the Record" Sly and the Family Stone oral history (which I do recommend)."There's a Riot Goin' On" is genius, and deserves a much better book. Miles Marshall Lewis' work here is thin, uninspired and ultimately soulless.

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