By Dwight Brown Film Critic for DwightBrownInk.com and NNPA News Wire
(***)
“In the beginning it was all about the music. Then it became all about other things,” says a former band member.
That’s the path of many bright, famous musicians. Struggle. It’s all about the art. Breakthrough. Success. Excess. Downward spiral. Comeback. Fizzle under the weight of drugs, drink and celebrity. That’s the tale this informative Sly & The Family Stone tribute doc tells. That’s the notion created by Oscar®-winning filmmaker Ahmir “Questlove” Thompson whose Summer of Soul (or…When the Revolution Could Not Be Televised), a drummer/musician turned documentarian who redefined the soul music doc genre. With him at the helm, you know at least the music will be a thrill. And it is.
Sylvester Stewart was born in Denton Texas and raised in the San Francisco Bay Area city of Vallejo, 31 miles from S.F. His love of music and development as an instrumentalist and vocalist can be traced back to his church roots and school. Which is typical of so many musicians, from Little Richard and Billy Preston to Luther Vandross and John Legend. The twist Stewart had in his life and location was an affinity for black gospel and R&B, which parallelled his love for rock and pop music. Socially he also fluctuated between the Black and white communities where he lived. His blurred musical tastes and relationships stayed with him the rest of this life.
Pulling his band together, in various forms until it became the legendary Sly & The Family Stone, meant keeping one foot in the evolution of Black life and the other in the general community, too. No wonder his band was an amalgamation of Black and white members, males and females. If that mixture wasn’t a first for an American band, they certainly were one of the OGs. Sly on lead vocals and guitar; sister Rose on vocals/keyboards; brother Freddie vocals/guitar; high school friend Cynthia Robinson vocals/horn; Italian/American Greg Errico on drums; Italian/American Jerry Martini on sax; a trio of backup singers and the very famous Larry Graham on his thumping bass guitar.
Judiciously edited live concert footage, TV interviews with Dick Cavett, anecdotes from band members and commentary from musicians with lots of street cred fill in all the details of Stone’s emergence. From a childhood prodigy who played various instruments to his musical prowess as a songwriter and engineer to his ascension into a world-class band leader and style setter. When Chaka Khan, Jimmy Jam, Vernon Reid, Nile Rogers, George Clinton and D’Angelo sing praises, you got to listen. When you see that Stone burned a path for future disciples, like Prince and Parliament Funkadelic, you have to know his influence will be felt for generations to come. And the man was flying high without a GPS! “If you’re Sly Stone there’s no blueprint for what comes next,” one insider comments. Watching, hearing and feeling Sly Stone’s music as he creates, records and performs it is like getting a front row seat at the Filmore East or West. Digging into raucous, groundbreaking tunes, rhythms and beats that became a commentary of the times. From the turbulent ‘60s, to civil unrest and the Black Panthers to the beginning of the disco era. The times were transformative and Sly & The Family Stone rode each crest. Their music was defining a generation of folks who broke down racial barriers and partied together. A freeing approach to fun and socialization influenced by a band that produced butt shaking, foot moving, head twirling and exceedingly vibrant music.
“Dance to the Music” (1968) got everyone out on the floor. “Hot Fun in the Summertime” (1969) describes how everyone wanted to feel in the summer heat. “Everyday People” (1969) brought folks together. “Thank You (Falletinme Be Mice Elf Again)” (1970) spoke to the virtue of being true to instincts. “Family Affair” (19171) exalted extended families like the band itself. Some songs eventually became #1 hits on the R&B and pop charts. Then money, fame, worldwide acclaim and debauchery rolled in.
The music being heard for 1h 52m (editor Joshua L. Pearson) is par excellence, especially if you like your groove with a bit of funk. The parallels to history and social movements of the times seem overwrought and a stretch at certain moments. Though it’s interesting to know the pressure the Black Panthers put on Sly to be a political activist and how that effected his musical journey, less of that would have been more. Sticking predominately to his musical accomplishments (first one to use a drum machine on a hit record!) would have served the footage, audience and Sly better.
The theme “The Burden on Black Genius,” seems like a contrived sales gimmick. Not a thesis that plays out well. Not a reason to tune into Hulu. It’s like the filmmakers are asking too much from their audience. Music lovers want to come for the portrait and music. Not for the politics or philosophies, no matter how relevant. Same can be said of the harping on Stone’s drug abuse and family issues. That’s between him and his family. Him and himself. There’s no shame in making this a cautionary tale, too. But celebrity, fame, sex, drugs and rock ‘n’ roll is cliché. That isn’t what makes Sly Stone unique or magnetic.
Fortunately, Questlove had the presence of mind to make this homage to Sylvester Stewart while he’s still alive—at the prime age of 81. Years after his hard-partying contemporaries have passed away. Years after his hit records debuted. Sly and his Family Stone are getting their flowers now, when it counts. While they can still feel the glow. While they can see their fans get happy and today’s music lovers learn where Prince got his funky beat.
A fascinating, pulsating documentary that captures a spirit worth following. Ten minutes too long but never misses a beat. Best when it showcases the man and his music and not “other things.” But even Sly would forgive that imperfection. His classic song “Everyday People” says so: “Sometimes I’m right and I can be wrong, my own beliefs are in my song.”
Visit Film Critic Dwight Brown at DwightBrownInk.com.
