Questlove’s ‘Sly Lives!’ is incomplete but mesmerizing look at a musical genius

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Within just a few brief years, Questlove has solidified his position as the foremost historian of contemporary Black music. As the drummer for The Roots, he released “Summer of Soul (…or, When the Revolution Could Not Be Televised)” in 2021 and garnered every significant accolade, including an Oscar for Best Documentary Feature and a Grammy for Best Music Film.

A standout moment from “Summer of Soul” is when someone talking about the event reminisces about the breathtaking performance that occurred later on, after a slight delay, by Sly and his Band, the Family Stone.

Ah, let me put it in a simpler way: In the new movie by Questlove, titled “Sly Lives! (or The Burden of Black Genius)”, he delves deep into the life of Sly, one of the most elusive figures in modern music. Though his name may not be as widely recognized, the impact Sly has made on music continues to be immense. This film uses a wealth of interviews and historical footage to help us better understand this musical genius.

Questlove delivers a mixed bag of excellence in documentary about Sly Stone

Sylvester Stewart, also known as Sly Stone, was born in Texas and spent his childhood in the Bay area. From an early age, it was evident that he possessed exceptional musical talents. The opening scene of the film provokes one of its key themes – “What defines Black genius?” – while Questlove recounts those early years when Sly’s passion for various music genres became manifest.

From my teenage years, I had the privilege of being a part of racially diverse bands, and by the time I hit my mid-twenties, I had already carved out a significant niche for myself within the local music scene.

At the heart of San Francisco’s soul scene was Sly, a disc jockey for KSOL radio station. Beyond soulful tunes, he spun pop and rock tracks by white musicians as well. Some might have found this mix unconventional, even off-putting. Yet, Sly’s magnetic personality and exceptional skills won over most listeners, making them appreciate his perspective.

What stands out more is that he started his career as a record producer, playing a crucial role in kick-starting notable San Francisco bands such as the Beau Brummels and The Great Society. To this day, artists from that era continue to marvel at their talent for fostering bands and music.

Just as an exceptional athlete perceives the game at a unique tempo, Sly excelled at hearing music differently. He had a knack for producing sounds that resonated with people. Following several years of crafting those sounds for others in the mid-’60s, he felt it was high time to create them for his own endeavors.

The initial lineup of Sly and the Family Stone consisted of six musicians, accompanied by backup vocalists. Sly and his brother Freddie were responsible for keyboards and guitars. Larry Graham played bass. A female musician named Cynthia Robinson handled the trumpet. Additionally, there were two white members – Gregg Errico on drums and Jerry Martini on saxophone, who Sly acknowledges as the founding members of the band.

Among the Stewart siblings, it was Vet who initially made up a three-piece backup vocal group. However, by the release of their second album, her sister Rose joined in, thus restoring the original lineup, this time on an electric piano.

In the early days of Sly and the Family Stone, it wasn’t just Sly who took the lead on vocals; everyone in the band would sing. This was a distinctive feature of the group.

In a narrative fashion, Questlove recounts the story of the band by dissecting their popular tracks. He starts with “Dance to the Music,” the remarkable progressive soul track that became the introduction of the group to the world. Sly, always the producer, gives each artist a chance to have an individual entrance, where they identify themselves and clarify how their contribution forms an integral part of the overall composition.

The film explores in a similar fashion how these subsequent tracks such as “Stand,” “I Want to Take You Higher,” “Hot Fun in the Summertime,” and “Thank You (Falettinme Be Mice Elf Agin)” were put together, revealing an artist deeply connected with his era. The process of creating funk music unfolds vividly within this film segment. For added confirmation, Questlove shares extensive interviews with George Clinton, a pioneer of funk music, supporting this claim.

The movie provides a rich tapestry of perspectives from various artists who were inspired by Sly. For instance, D’Angelo, whose 2014 “Black Messiah” album is frequently likened to Sly’s groundbreaking 1971 album “There’s a Riot Goin’ On,” speaks respectfully about this impact. Similarly, producers and musicians like Jimmy Jam, Nile Rodgers, Vernon Reid, Andre 3000, and Q Tip do the same. It’s hard to imagine modern soul or soul-based hip-hop without Sly Stone’s influence. It’s nearly impossible to consider funk without considering him.

occasionally, Questlove forges clear connections – “I Want to Take You Higher” influencing the emergence of Prince, “Thank You…” providing the guitar sample for Janet Jackson’s “Rhythm Nation.” However, the movie implies that Sly’s influence extended far beyond such instances. He paved the way for all musicians across various genres. It was a challenging stance to assume. And it seems his personal life may have suffered as a result of this influential figure.

One of the most striking scenes in the movie occurs when drummer Greg Errico chooses to depart from the band prior to the 1971 album “There’s a Riot Goin’ On“. Despite this, Sly Stone’s musical creativity remained at its peak. The single released after Errico left, titled “Family Affair,” was groundbreaking as it became the first song to reach number one on the Billboard charts using a drum machine.

In the film, it’s clearly hinted that the departure carried significant psychological weight for everyone involved. The people interviewed all shared a common sentiment that none of them expected anyone to depart from the family.

After some time, Larry Graham left under rather contentious terms. In “There’s a Riot Goin’ On” and 1973’s “Fresh”, Sly was assuming more and more musical responsibilities. What was once a close-knit family band was gradually transforming into a solo project.

Ahmad Questlove’s central idea, as hinted in the film’s tagline, delves into the additional burdens faced by a highly successful Black artist. He initiates the movie by posing the question about Black genius and revisits it later on, implying that apprehension towards success can outweigh the dread of failure. Success brings with it heightened scrutiny.

In essence, this constraint hinders creative exploration. One interviewee highlights that an artist such as David Bowie, who is white, was given the flexibility to evolve and innovate. When a particular attempt failed, he had the liberty to venture into new territories.

As soon as Sly transitioned from the warm, welcoming vibe of “Everyday People” into the harsh reality depicted in “Family Affair,” many people began regarding him with unease.

The film abounds in an abundance of wealth. Interesting details such as a concert by Sly and Jimi Hendrix at the Fillmore East priced at $7.50 add depth to the period’s portrait. Luckily, many original Family members were accessible and eager for interviews. It’s heartening to witness Larry Graham, who didn’t always see eye-to-eye with Sly, express his affection and respect.

What I’m trying to convey is that while there may be some inconsistencies in the narrative, it’s possible that time limitations didn’t allow Questlove to explore more songs in depth. However, the absence of “Thank You For Talking to Me, Africa” from There’s a Riot and his final hit single “If You Want Me To Stay” from Fresh are two of the most conspicuous oversights.

It’s clear why Questlove didn’t delve deeply into Sly’s decline, instead focusing on his musical career and its consequences. He mentions drug issues and the rise of newer artists overshadowing him. The film leans more towards portraying Sly as an artist, but there are emotional – sometimes painfully so – scenes from his children. His daughter shares a story that is both disturbing and amusing about growing up with a father who was frequently under the influence.

In this production, what stands out most noticeably is the lack of Sly’s presence. His voice echoes consistently throughout the film, sourced from numerous archival interviews dating back to the 1970s. A captivating snippet from an interview with Dick Cavett provides a wealth of insight about both individuals in a brief moment.

In essence, the title of the movie isn’t just symbolic; Sylvester Stewart truly exists. However, due to his health conditions that prevent an interview, Questlove and their team chose not to discuss this within the movie. This is understandable, but it would have been more satisfying if they had addressed it briefly and tactfully in the film itself. Leaving it out creates unnecessary speculation.

Compared to the abundance of insightful and amusing content the films provide, those issues are relatively small. Sylvester Stallone, or ‘Sly’, has always managed to be both informative and entertaining. Questlove presents a convincing argument for his theory on the burdens of Black genius. It’s worth discussing whether Sly’s unique character played a significant role in his downfall. For now, it’s clear that Sly’s position among the greats has been confirmed, which is worthy of admiration.

Sly Lives! (aka The Burden of Black Genius) is streaming now on Hulu.

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2025-02-16 17:00