Editing Sly and the Family Stone (section)

===Later work===
The later work of Sly and the Family Stone was as influential as the band's early work. ''There's a Riot Goin' On'', ''Fresh'', and ''Small Talk'' are considered among the first and best examples of the matured version of funk music, after prototypical instances of the sound in the band's 1960s work.<ref name="ErlewineSly" /><ref>Rosen, Dave. [http://www.inkblotmagazine.com/rev-archive/sly.htm Review for ''There's a Riot Goin' On''.] {{Webarchive|url=https://web.archive.org/web/20080921085438/http://www.inkblotmagazine.com/rev-archive/sly.htm |date=September 21, 2008 }} ''Ink Blot Magazine''. Retrieved on January 18, 2007</ref> A 2003 article for ''Rolling Stone'' commented; "Sly and the Family Stone created a musical utopia: an interracial group of men and women who blended funk, rock and positive vibes... Sly Stone ultimately discovered that his utopia had a ghetto, and he brilliantly tore the whole thing down on ''There's a Riot Goin' On'', which does not refute the joy of his earlier music."<ref>{{Cite magazine|url=https://www.rollingstone.com/music/music-news/|title=Music News|magazine=[[Rolling Stone]]}}</ref> In a retrospective review, Zeth Lundy of [[PopMatters]] called ''There's a Riot Goin' On'' "a challenging listen, at times rambling, incoherent, dissonant, and just plain uncomfortable" with "some episodic moments of pop greatness to be found" and viewed it as a radical departure from the band's previous work:

{{blockquote|[It] sank their previously burgeoning idealism at a time when social disillusionment was all the rage. Sly had found something else to take him higher and, as a result, ''Riot'' is a record very much informed by drugs, paranoia, and a sort of halfhearted malcontent [...] listening to it isn't exactly a pleasurable experience. It's significant in the annals of pop and soul because it is blunt and unflinching, because it reflects personal and cultural crises in a manner unbecoming for pop records at the time. ''Riot'' can be classified as avant-soul only after being recognized as a soul nightmare—the 'nightmare', so to speak, being a reflection of an unfortunate and uncompromised reality, not a glossed-over pop-music approximation of reality.<ref name="Lundy">Lundy, Zeth (April 2, 2007). [http://www.popmatters.com/pm/feature/slys-the-limit/ Review: ''There's a Riot Goin' On'']. [[PopMatters]]. Retrieved on 2010-10-16.</ref>}}

Writer [[Colin Larkin (writer)|Colin Larkin]] described the album as "unlike anything heard before in black music".<ref>{{cite book|last=Larkin|first=Colin|author-link=Colin Larkin (writer)|title=Guinness Book of Top 1000 Albums
|publisher=Gullane Children's Books|year=1994|edition=1|isbn=978-0-85112-786-6|page=292}}</ref> [[Herbie Hancock]] was inspired by Sly's new funk sound to move towards a more electric sound with his material,<ref>Erlewine, Stephen Thomas. [{{AllMusic|class=album|id=r140166|pure_url=yes}} Review for ''Head Hunters'' by Herbie Hancock]. All Music Guide. Retrieved on January 18, 2007.</ref> resulting in ''[[Head Hunters (album)|Head Hunters]]'' (1973). [[Miles Davis]] was similarly inspired by the band and worked with Sly Stone on his recordings, resulting in ''[[On the Corner]]''; the sartorial and band lineup changes hallmarked [[jazz fusion]].<ref>Selvin, Joel (1998), p. 163.</ref> Davis was particularly impressed with material from Stone's 1973 album ''[[Fresh (Sly and the Family Stone album)|Fresh]]''.<ref>{{cite web | title= Drummerworld: Andy Newmark| publisher= Drummerworld| url= http://www.drummerworld.com/drummers/Andy_Newmark.html}}</ref> British musician and [[ambient music]] pioneer [[Brian Eno]] cited ''Fresh'' as having heralded a shift in the history of [[Sound recording and reproduction|recording]], "where the rhythm instruments, particularly the bass drum and bass, suddenly [became] the important instruments in the mix."<ref>{{cite magazine | title= Brian Eno: "The Studio as Compositional Tool"| magazine= Downbeat| url= http://beatpatrol.wordpress.com/2010/02/10/brian-eno-the-studio-as-compositional-tool-1983/}}</ref> Artists such as Michael Jackson, [[Stevie Wonder]], [[Prince (singer)|Prince]], [[Outkast]], [[Chuck D]], the [[Red Hot Chili Peppers]], and [[John Mayer]] have also shown significant inspiration from the post-1970 work of Sly and the Family Stone.<ref name="KalissNote">Kaliss, Jeff. [http://www.there1.com/browse_articles.php?action=view_record&idnum=109 Sly and the Family Stone: 'Different strokes for different folks.'] {{webarchive|url=https://web.archive.org/web/20060212060616/http://www.there1.com/browse_articles.php?action=view_record&idnum=109 |date=February 12, 2006 }} There1.com. Retrieved on January 18, 2007 [http://differentstrokesbydifferentfolks.blogspot.com/ ''Different Strokes by Different Folks''] [audio podcast—2 episodes]. New York: Sony Music Entertainment. Retrieved on January 18, 2007. [[Michael Jackson]], Prince, and Stevie Wonder's inspirations from Sly and the Family Stone are mentioned in this article. The other artists listed are among those who participated in the 2006 Sly and the Family Stone tribute album ''Different Strokes by Different Strokes'', and discuss their participation in the podcast.</ref><ref>{{Cite magazine|url=https://www.rollingstone.com/t/outkast/|title=Outkast|magazine=[[Rolling Stone]]}}</ref>