Stephen Thomas Erlewine, AMG wrote:
Sly & The Family Stone – Dance to the Music ©1968
Sly & the Family Stone came into their own with their second album, Dance to the Music. This is exuberant music, bursting with joy and invention. If there's a shortage of classic material, with only the title track being a genuine classic, that winds up being nearly incidental, since it's so easy to get sucked into the freewheeling spirit and cavalier virtuosity of the group. Consider this -- prior to this record no one, not even the Family Stone, treated soul as a psychedelic sun splash, filled with bright melodies, kaleidoscopic arrangements, inextricably intertwined interplay, and deft, fast rhythms. Yes, they wound up turning "Higher" into the better "I Want to Take You Higher" and they recycle the title track in the long jam "Dance to the Medley," but there's such imagination to this jam that the similarities fade as they play. And, if these are just vamps, well, so are James Brown's records, and those didn't have the vitality or friendliness of this. Not a perfect record, but a fine one all the same.
Stephen Thomas Erlewine, AMG wrote:
Sly & The Family Stone – Life ©1968
Just a matter of months after Dance to the Music, Sly & the Family Stone turned around and delivered Life, a record that leapfrogged over its predecessor in terms of accomplishment and achievement. The most noteworthy difference is the heavier reliance on psychedelics and fuzz guitars, plus a sharpening of songcraft that extends to even throwaways like "Chicken." As it turned out, Life didn't have any hits -- the double A-sided single "Life"/"M'Lady" barely cracked the Top 100 -- yet this feels considerably more song-oriented than its predecessor, as each track is a concise slice of tightly wound dance-funk. All the more impressive is that the group is able to strut their stuff within this context, trading off vocals and blending into an unstoppable force where it's impossible to separate the instruments, even as they solo. The songwriting might still be perfunctory or derivative in spots -- listen to how they appropriate "Eleanor Rigby" on "Plastic Jim" -- but what's impressive is how even the borrowed or recycled moments sound fresh in context. And then there are the cuts that work on their own, whether it's the aforementioned double-sided single, "Fun," "Dynamite!," or several other cuts here -- these are brilliant, intoxicating slices of funk-pop that get by as much on sound as song, and they're hard to resist.
Stephen Thomas Erlewine, AMG wrote:
Sly & The Family Stone – Stand! ©1969
Stand! is the pinnacle of Sly & the Family Stone's early work, a record that represents a culmination of the group's musical vision and accomplishment. Life hinted at this record's boundless enthusiasm and blurred stylistic boundaries, yet everything simply gels here, resulting in no separation between the astounding funk, effervescent irresistible melodies, psychedelicized guitars, and deep rhythms. Add to this a sharpened sense of pop songcraft, elastic band interplay, and a flowering of Sly's social consciousness, and the result is utterly stunning. Yes, the jams ("Don't Call Me Nigger, Whitey," "Sex Machine") wind up meandering ever so slightly, but they're surrounded by utter brilliance, from the rousing call to arms of "Stand!" to the unification anthem "Everyday People" to the unstoppable "I Want to Take You Higher." All of it sounds like the Family Stone, thanks not just to the communal lead vocals but to the brilliant interplay, but each track is distinct, emphasizing a different side of their musical personality. As a result, Stand! winds up infectious and informative, invigorating and thought-provoking -- stimulating in every sense of the word. Few records of its time touched it, and Sly topped it only by offering its opposite the next time out.
Stephen Thomas Erlewine, AMG wrote:
Sly & The Family Stone – Fresh ©1973
Fresh expands and brightens the slow grooves of There's a Riot Goin' On, turning them, for the most part, into friendly, welcoming rhythms. There are still traces of the narcotic haze of Riot, particularly on the brilliant, crawling inversion of "Que Sera, Sera," yet this never feels like an invitation into a junkie's lair. Still, this isn't necessarily lighter than Riot -- in fact, his social commentary is more explicit, and while the music doesn't telegraph his resignation the way Riot did, it comes from the same source. So, Fresh winds up more varied, musically and lyrically, which may not make it as unified, but it does result in more traditional funk that certainly is appealing in its own right. Besides, this isn't conventional funk -- it's eccentric, where even concise catchy tunes like "If You Want Me to Stay" seem as elastic as the opener, "In Time." That's the album's ultimate charm -- it finds Sly precisely at the point where he's balancing funk and pop, about to fall into the brink, but creating an utterly individual album that wound up being his last masterwork and one of the great funk albums of its era.
Rob Bowman, AMG wrote:
Sly & The Family Stone – Small Talk ©1974
A new bass player and drummer signaled a toned-down Sly & the Family Stone sound. Partially in keeping with changes in much of popular music in the early '70s, and maybe the result of marriage and a child, Sly became more introspective, quieter, and calmer, even employing a string section on various cuts. A less exhilarating album than earlier efforts, there is still much of merit here, including the Top Ten R&B hit "Time for Livin'."
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