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DISCID=da0a3a0f
DTITLE=Sly & The Family Stone / Life (Remastered + Expanded)
DYEAR=1968
DGENRE=Funk
TTITLE0=Dynamite!
TTITLE1=Chicken
TTITLE2=Plastic Jim
TTITLE3=Fun
TTITLE4=Into My Own Thing
TTITLE5=Harmony
TTITLE6=Life
TTITLE7=Love City
TTITLE8=I'm An Animal
TTITLE9=M'Lady
TTITLE10=Jane Is A Groupee
TTITLE11=Dynamite! (Mono Single Version)
TTITLE12=Seven More Days (Previously Unissued)
TTITLE13=Pressure (Previously Unissued)
TTITLE14=Sorry (Instrumental - Previously Unissued)
EXTD=Life (Remastered + Expanded)\n2007 Epic/Legacy\n\nOriginally Rele
EXTD=ased 1968\nCD Edition Released July 18, 1995\nRemastered + Expand
EXTD=ed CD Edition Released April 24, 2007\n\nAMG EXPERT REVIEW: Just 
EXTD=a matter of months after Dance to the Music, Sly & the Family Sto
EXTD=ne turned around and delivered Life, a record that leapfrogged ov
EXTD=er its predecessor in terms of accomplishment and achievement. Th
EXTD=e most noteworthy difference is the heavier reliance on psychedel
EXTD=ics and fuzz guitars, plus a sharpening of songcraft that extends
EXTD= to even throwaways like "Chicken." As it turns out, Life didn't 
EXTD=have any hits -- the double A-sided single "Life"/"M'Lady" barely
EXTD= cracked the Top 100 -- yet this feels considerably more song-ori
EXTD=ented than its predecessor, as each track is a concise slice of t
EXTD=ightly wound dance-funk. All the more impressive is that the grou
EXTD=p is able to strut their stuff within this context, trading off v
EXTD=ocals and blending into an unstoppable force where it's impossibl
EXTD=e to separate the instruments, even as they solo. The songwriting
EXTD= might still be perfunctory or derivative in spots -- listen to h
EXTD=ow they appropriate "Eleanor Rigby" on "Plastic Jim" -- but what'
EXTD=s impressive is how even the borrowed or recycled moments sound f
EXTD=resh in context. And then there are the cuts that work on their o
EXTD=wn, whether it's the aforementioned double-sided single, "Fun," "
EXTD=Dynamite!," or several other cuts here -- these are brilliant, in
EXTD=toxicating slices of funk-pop that get by as much on sound as son
EXTD=g, and they're hard to resist. The truly amazing thing is that wh
EXTD=ile its predecessor, Dance To the Music is nowhere near as consis
EXTD=tent as Life, it was a smash album with its title track becoming 
EXTD=a top ten single in the Billboard pop chart, the latter album did
EXTD= not score in the same manner. Despite the great familiarity and 
EXTD=inclusion of tracks such as "Life," and "M'Lady," neither scored 
EXTD=n the top 40. The single "Dynmmite," which opens the set, didn't 
EXTD=chart at all. The beautifully remastered Legacy edition contains 
EXTD=four bonus cuts. The mono single version of "Dynamite," is here a
EXTD=s well as three previously unreleased cuts including the beautifu
EXTD=l instrumental "Sorrow," and the burner ""Pressure." -- Stephen T
EXTD=homas Erlewine and Thom Jurek\n\n\nAMG EXPERT REVIEW: (Collector'
EXTD=s Box Set) Sly & the Family Stone: The Collection contains the se
EXTD=ven albums the group released on Epic Records between 1968 and 19
EXTD=74 (which were recorded between 1967 and 1971). Sony BMG has simp
EXTD=ly packaged these discs -- A Whole New Thing, Dance to the Music,
EXTD= Life, Stand, There's a Riot Goin' On, Fresh, and Small Talk -- a
EXTD=ll of which have been completely remastered and contain bonus mat
EXTD=erial and liner essays, all in a slipcase box. They've all been r
EXTD=eleased separately in digipack, so there isn't anything additiona
EXTD=l to be had. The price point isn't really different either, and g
EXTD=iven the wildly varying quality of some of these sides, buying th
EXTD=e box is for a very specific kind of fan or collector.  -- Thom J
EXTD=urek \n\n\nAmazon.com Editorial Review\nThough Sly & the Family S
EXTD=tone wouldn't score a hit until their third album, Dance to the M
EXTD=usic, the roots of the group's revolutionary mix of classic R&B w
EXTD=ith San Francisco's burgeoning acid-rock sound can be heard loud 
EXTD=and clear on their second album, 1968's Life. With no clear stand
EXTD=out tracks, Life is fascinating more for its explorations than it
EXTD=s arrivals. The elements are all there--the dynamic ensemble sing
EXTD=ing, the adventurous arrangements, the hard funk beats, the screa
EXTD=ming guitars--but Life is a musical vision not yet fully formed. 
EXTD=When it finally did come together, nothing would be the same agai
EXTD=n. --Roni Sarig \n\n\nAMAZON.COM CUSTOMER REVIEW\nSly at his bril
EXTD=liant best; editorial review in error, November 12, 2001\nReviewe
EXTD=r: A music fan\nFirst, let me say that this recording is non-stop
EXTD= fun and brilliance. Life is Sly at his best. It's one of his mos
EXTD=t consistent releases and my personal favorite. Now, on to settin
EXTD=g the "record" straight. Amazon's mis-informed editorial reviewer
EXTD= erroneously puts Life's release BEFORE The Family Stone's breakt
EXTD=hrough album, Dance To The Music. Anyone experiencing the origina
EXTD=l vinyl issues of Sly's discography as they happened remembers th
EXTD=e chronology: A Whole New Thing (1967); Dance To The Music (Sprin
EXTD=g/Summer 1968); Life (Fall/Winter 1968). The title track from DTT
EXTD=M hit the singles charts in Summer 1968. Life was the superior so
EXTD=unding follow-up LP that offered funk rock and pop at its finest 
EXTD=(M'Lady, Into My Own Thing, Fun, I'm An Animal, etc.). Jane Is A 
EXTD=Groupee is arguably one of the most explosive cuts that Sly ever 
EXTD=tracked. Life's title song was released as the first single from 
EXTD=the record, but failed to follow DTTM up the charts. The group wo
EXTD=uld later return with hit singles like Everyday People, Hot Fun I
EXTD=n The Summertime, Everybody Is A Star and Thank You (Falettinme B
EXTD=e Mice Elf Agin).\n\n\nAMAZON.COM CUSTOMER REVIEW\nA funk/rock/ps
EXTD=ychedelic/soul meltdown!, July 5, 2001\nReviewer: Christian M Wil
EXTD=liams (Tampa, FL USA)\nSly is and was a genius, no doubt, with ex
EXTD=uberance and groove to spare on every track of this album. Even t
EXTD=he filler material ("Chicken," "Dynamite") is catchy with some in
EXTD=teresting production touches, and the better songs that didn't ma
EXTD=ke his Greatest Hits collection are awesome.\nYou may recognize t
EXTD=hat "Into My Own Thing" has a distinctive horn/organ/bass/drum ri
EXTD=ff - heard today as the predominant sample from the current Fatbo
EXTD=y Slim song (the one with Christopher Walken dancing).\n\nIf you 
EXTD=love the alternating lead vocals, fuzz bass, punchy drums and bri
EXTD=lliant arrangements of Sly's better known material, it will only 
EXTD=take a few listens before these songs are as classic to you as hi
EXTD=s best. I really like "Harmony" (despite the cheesy intro) and "J
EXTD=ane Is A Groupee" (killer production).\n\n\nHalf.com Details \nPr
EXTD=oducer: Sly Stone \n\nAlbum Notes\nLIFE, Sly's follow-up to his c
EXTD=ommercial breakthrough, DANCE TO THE MUSIC, was very much in the 
EXTD=same vein as its predecessor. An innovative blend of rock and sou
EXTD=l, with large helpings of horns, fuzz guitar, and bottom-heavy ba
EXTD=ss, it was to become the sonic template for just about every funk
EXTD= act of the '70s.\n\nThe band is brash and palpably bursting with
EXTD= confidence, which may explain why Sly pulled a postmodern Beatle
EXTD=s move, quoting "Dance to the Music" at the tag of the opening "D
EXTD=ynamite." (On the other hand, maybe Sly just had a thing for the 
EXTD=Beatles--there's an "Eleanor Rigby" quote in "Plastic Jim.") Inte
EXTD=restingly, despite the album's popularity, LIFE yielded no hit si
EXTD=ngles, although almost everybody assumed that the title song, an 
EXTD=FM radio favorite, had actually charted.\n\nIndustry Reviews\n4 S
EXTD=tars - Excellent - ...LIFE is where Sly's dazzling all-things-to-
EXTD=all-people vision snaps into full focus....When Sly testifies on 
EXTD='Life,' insisting that 'you don't have to come down' and 'you don
EXTD='t have to die before you live,' the ebullient music supports his
EXTD= spiritual tightrope walk...\nRolling Stone Magazine (09/21/1995)
EXTD=\n\n\nROLLING STONE REVIEW\nThe reissue of these long-out-of-prin
EXTD=t late-'60s albums documents the birth of funk -- the bastard off
EXTD=spring of gutbucket soul and psychedelic rock. The collected earl
EXTD=y works of Sylvester Stewart, a k a Sly Stone, provide a musical 
EXTD=bridge between James Brown's bedrock grooves and George Clinton's
EXTD= cosmic slop. A former DJ and veteran music-biz hustler, Sly is a
EXTD= supernaturally gifted band leader, arranger, player, producer, s
EXTD=ongwriter and onstage instigator. The lyrics of his catchy chorus
EXTD=es tempered uplifting messages with urban reality; his flashy per
EXTD=sona and streetwise cool set the style standard for the superbad,
EXTD= superslick early '70s.\n\nThe Family Stone were a comfortable ra
EXTD=inbow coalition: Sly's brother Freddie Stone on guitar, sister Ro
EXTD=sie on electric piano, cousin Larry Graham on bass and Greg Erric
EXTD=o on drums, plus saxophonist Jerry Martini and trumpeter Cynthia 
EXTD=Robinson. Their sound was democratic, too: Each instrumental voic
EXTD=e was carefully articulated, always in step with the others. Ever
EXTD=ybody in the group sang, as one crucial Life track puts it, in pe
EXTD=rfect "Harmony."\n\nA Whole New Thing, the group's 1967 debut, is
EXTD=n't quite the genre-busting exercise its title promises. To conte
EXTD=mporary ears, it more closely resembles a slightly. different thi
EXTD=ng: straight-up, pumping R&B flavored with some freaky trimmings 
EXTD=-- a fuzz-tone guitar blurt here ("Run, Run, Run," "Trip to Your 
EXTD=Heart") some pointed protest lyrics there ("Underdog," "Dog"). Ev
EXTD=en when these trappings feel a bit dated, the Family Stone's boun
EXTD=dless high energy, tight musicianship and soulful convictions get
EXTD= the motivating message across loud and clear.\n\nTwenty-seven ye
EXTD=ars later, the title track of Dance to the Music provides a sure-
EXTD=fire jolt of pure adrenalin. Overall the album is uneven, but its
EXTD= highs are intense, prolonged, ecstatic. Earthy bass and drums pu
EXTD=t a spring in your step while seductive melodies and horn lines t
EXTD=ickle your mind. Song titles like "Ride the Rhythm" and "Higher" 
EXTD=are more than hooks -- they're statements of purpose. And Sly's h
EXTD=alf-spoken and half-sung band introductions on "Dance to the Musi
EXTD=c" neatly prefigure the rise of rap. "All we need is a drummer," 
EXTD=he declares, "for people who only need a beat."\n\nLife is where 
EXTD=Sly's dazzling all-things-to-all-people vision snaps into full fo
EXTD=cus. "Dynamite!" explodes in a hailstorm of volatile, feedback-la
EXTD=ced rock. "Plastic Jim," "Into My Own Thing" and "Love City" conn
EXTD=ect hippie idealism to wickedly syncopated rhythms. And the joyou
EXTD=sly hedonistic party numbers -- "Fun," "M'Lady" -- just won't qui
EXTD=t. When Sly testifies on "Life," insisting that "you don't have t
EXTD=o come down" and "you don't have to die before you live," the ebu
EXTD=llient music supports his spiritual tightrope walk.\n\nThe rest, 
EXTD=as they say, is history: Sly and the Family Stone's remaining car
EXTD=eer paralleled the rise and fall of the baby-boom counterculture.
EXTD= They peaked at Woodstock in '69, bottomed out after There's a Ri
EXTD=ot Goin' On in '71 and eventually broke up. Sly Stone remains a s
EXTD=pectral presence on the contemporary scene, a troubling rumor at 
EXTD=best, though his profound influence can be felt every time you tu
EXTD=rn on a radio. While the man may not have survived the '60s intac
EXTD=t, surely his music has endured beyond all expectations. (RS 717 
EXTD=-- Sep 21, 1995)  -- MARK COLEMAN
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