By Jose Valentino Ruiz, Associate Professor of Music Business and Entrepreneurship, University of Florida (Originally Published on The Conversation)
In the fall of 1971, Sly and the Family Stone’s “There’s a Riot Goin’ On” landed like a quiet revolution. After two years of silence following the band’s mainstream success, fans expected more feel-good funk from the ensemble.
What they got instead was something murkier and more fractured, yet deeply intimate and experimental. This was not just an album; it was the sound of a restless mind rebuilding music from the inside out.
At the center of it all was front man Sly Stone.
Long before the home studio became an industry norm, Stone, who died on June 9, 2025, turned the studio into both a sanctuary and an instrument. And long before sampling defined the sound of hip-hop, he was using tape and machine rhythms to deconstruct existing songs to cobble together new ones.
As someone who spends much of their time working on remote recording and audio production – from building full arrangements solo to collaborating digitally across continents – I’m deeply indebted to Sly Stone’s approach to making music.
He was among the first major artists to fully embrace the recording environment as a space to compose rather than perform. Every reverb bounce, every drum machine tick, every overdubbed breath became part of the writing process.
From studio rat to bedroom producer
Sly and the Family Stone’s early albums – including “Dance to the Music” and “Stand!” – were recorded at top-tier facilities like CBS Studios in Los Angeles under the technical guidance of engineers such as Don Puluse and with oversight from producer David Rubinson.
These sessions yielded bright, radio-friendly tracks that emphasized tight horn sections, group vocals and a polished sound. Producers also prized the energy of live performance, so the full band would record together in real time.
But by the early 1970s, Stone was burnt out. The dual pressures of fame and industry demands were becoming too much. Struggling with cocaine and PCP addiction, he’d grown increasingly distrustful of bandmates, label executives and even his friends.
So he decided to retreat to his hillside mansion in Bel Air, California, transforming his home into a musical bunker. Inside, he could work on his own terms: isolated and erratic, but free.
Without a full band present, Stone became a one-man ensemble. He leaned heavily into overdubbing – recording one instrument at a time and building his songs from fragments. Using multiple tape machines, he’d layer each part onto previous takes.
The resulting album, “There’s a Riot Goin’ On,” was like nothing he’d previously recorded. It sounds murky, jagged and disjointed. But it’s also deeply intentional, as if every imperfection was part of the design.
In “The Poetics of Rock,” musicologist Albin Zak describes this “composerly” approach to production, where recording itself becomes a form of writing, not just documentation. Stone’s process for “There’s a Riot Goin’ On” reflects this mindset: Each overdub, rhythm loop and sonic imperfection functions more like a brushstroke than a performance.
Automating the groove
A key part of Stone’s tool kit was the Maestro Rhythm King, a preset drum machine he used extensively.
It wasn’t the first rhythm box on the market. But Stone’s use of it was arguably the first time such a machine shaped the entire aesthetic of a mainstream album. The drum parts on his track “Family Affair,” for example, don’t swing – they tick. What might have been viewed as soulless became its own kind of soul.
This early embrace of mechanical rhythm prefigured what would later become a foundation of hip-hop and electronic music. In his book “Dawn of the DAW,” music technology scholar Adam Patrick Bell calls this shift “a redefinition of groove,” noting how drum machines like the Rhythm King encouraged musicians to rethink their songwriting process, building tracks in shorter, repeatable sections while emphasizing steady, looped rhythms rather than free-flowing performances.
Though samplers wouldn’t emerge until years later, Stone’s work already contained that repetition, layering and loop-based construction that would become characteristic of the practice.
He recorded his own parts the way future DJs would splice records – isolated, reshuffled, rhythmically obsessed. His overdubbed bass lines, keyboard vamps and vocal murmurs often sounded like puzzle pieces from other songs.
Music scholar Will Fulton, in his study of Black studio innovation, notes how producers like Stone helped pioneer a fragment-based approach to music-making that would become central to hip-hop’s DNA. Stone’s process anticipated the mentality that a song isn’t necessarily something written top to bottom, but something assembled, brick by brick, from what’s available.
Perhaps not surprisingly, Stone’s tracks have been sampled relentlessly. In “Bring That Beat Back,” music critic Nate Patrin identifies Stone as one of the most sample-friendly artists of the 1970s – not because of his commercial hits, but because of how much sonic space he left in his tracks: the open-ended grooves, unusual textures and slippery emotional tone.
You can hear his sounds in famous tracks such as 2Pac’s “If My Homie Calls,” which samples “Sing a Simple Song”; A Tribe Called Quest’s “The Jam,” which draws from “Family Affair”; and De La Soul’s “Plug Tunin’,” which flips “You Can Make It If You Try.”
The studio as instrument
While Sly’s approach was groundbreaking, he wasn’t entirely alone. Around the same time, artists such as Brian Wilson and The Rolling Stones were experimenting with home and nontraditional recording environments – Wilson famously retreating to his home studio during “Pet Sounds,” and the Stones tracking “Exile on Main St.” in a French villa.
Yet in the world of Black music, production remained largely centralized in institutionally controlled studio systems such as Motown in Detroit and Stax in Memphis, where sound was tightly managed by in-house producers and engineers. In that context, Stone’s decision to isolate, self-produce and dismantle the standard workflow was more than a technical choice: It was a radical act of autonomy.
The rise of home recording didn’t just change who could make music. It changed what music felt like. It made music more internal, iterative and intimate.
Sly Stone helped invent that feeling.
It’s easy to hear “There’s a Riot Goin’ On” as murky or uneven. The mix is dense with tape hiss, drum machines drift in and out of sync, and vocals often feel buried or half-whispered.
But it’s also, in a way, prophetic.
It anticipated the aesthetics of bedroom pop, the cut-and-paste style of modern music software, the shuffle of playlists and the recycling of sounds that defines sample culture. It showed that a groove didn’t need to be spontaneous to be soulful, and that solitude could be a powerful creative tool, not a limitation.
In my own practice, I often record alone, passing files back and forth, building from templates and mapping rhythm to grid – as do millions of musical artists who compose tracks from their bedrooms, closets and garages.
Half a century ago, a funk pioneer led the way. I think it’s safe to say that Sly Stone quietly changed the process of making music forever – and in the funkiest way possible.
