Chicago: 20 CD. Japanese Edition (1969 - 2008) Re-up

American pop/jazz-rock group. One of the biggest-selling bands in U.S. history, hailing from the Windy City (Chicago, Illinois). Formed in 1967 as "The Big Thing", they were one of the first groups to successfully fuse rock with a horn section. This blend worked well for them into the late 1970s, until they started to shift towards a more adult-contemporary style, with bassist Peter Cetera becoming the main vocalist. They haven't put out much original material in recent years but tour to the masses every year since they started. In dance music circles, they are best known for their minor hit, "Streetplayer", which Kenny "Dope" Gonzalez sampled for his 1995 track, "The Bomb!" (released under the alias of Bucketheads). Members: Peter Cetera, Robert Lamm, Terry Kath, Danny Seraphine, James Pankow, Lee Loughnane, Walter Parazaider, Laudir De Oliveira, Donnie Dacus, Bill Champlin, Chris Pinnick, Jason Scheff, DaWayne Bailey, Tris Imboden, Keith Howland, Drew Hester, Lou Pardini.

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Few debut albums can boast as consistently solid an effort as the self-titled Chicago Transit Authority (1969). Even fewer can claim to have enough material to fill out a double-disc affair. Although this long- player was ultimately the septet's first national exposure, the group was far from the proverbial "overnight sensation." Under the guise of the Big Thing, the group soon to be known as CTA had been honing its eclectic blend of jazz, classical, and straight-ahead rock & roll in and around the Windy City for several years. Their initial non-musical meeting occurred during a mid-February 1967 confab between the original combo at Walter Parazaider's apartment on the north side of Chi Town. Over a year later, Columbia Records staff producer James Guercio became a key supporter of the group, which he rechristened Chicago Transit Authority. In fairly short order the band relocated to the West Coast and began woodshedding the material that would comprise this title. In April of 1969, the dozen sides of Chicago Transit Authority unleashed a formidable and ultimately American musical experience. This included an unheralded synthesis of electric guitar wailin' rock & roll to more deeply rooted jazz influences and arrangements. This approach economized the finest of what the band had to offer – actually two highly stylized units that coexisted with remarkable singularity. On the one hand, listeners were presented with an incendiary rock & roll quartet of Terry Kath (lead guitar/vocals), Robert Lamm (keyboards/vocals), Peter Cetera (bass/vocals), and Danny Seraphine (drums). They were augmented by the equally aggressive power brass trio that included Lee Loughnane (trumpet/vocals), James Pankow (trombone), and the aforementioned Parazaider (woodwind/vocals). This fusion of rock with jazz would also yield some memorable pop sides and enthusiasts' favorites as well. Most notably, a quarter of the material on the double album – "Does Anybody Really Know What Time It Is?," "Beginnings," "Questions 67 and 68," and the only cover on the project, Steve Winwood's "I'm a Man" – also scored as respective entries on the singles chart. The tight, infectious, and decidedly pop arrangements contrast with the piledriving blues-based rock of "Introduction" and "South California Purples" as well as the 15-plus minute extemporaneous free for all "Liberation." Even farther left of center are the experimental avant-garde "Free Form Guitar" and the politically intoned and emotive "Prologue, August 29, 1968" and "Someday (August 29, 1968)." The 2003 remastered edition of Chicago Transit Authority offers a marked sonic improvement over all previous pressings – including the pricey gold disc incarnation.

by Lindsay Planer

Tracklist:

1. Introduction - 6:34
2. Does Anybody Really Know What Time It Is? - 4:34
3. Beginnings - 7:51
4. Questions 67 & 68 - 4:58
5. Listen - 3:20
6. Poem 58 - 8:37
7. Free Form Guitar - 6:49
8. South California Purples - 6:11
9. I'm a Man - 7:43
10. Prologue, August 29, 1968 - 0:57
11. Someday (August 29, 1968) - 4:35
12. Liberation - 14:17

The Chicago Transit Authority recorded this double-barreled follow-up to their eponymously titled 1969 debut effort. The contents of Chicago II (1970) underscore the solid foundation of complex jazz changes with heavy electric rock & roll that the band so brazenly forged on the first set. The septet also continued its ability to blend the seemingly divergent musical styles into some of the best and most effective pop music of the era. One thing that had changed was the band's name, which was shortened to simply Chicago to avoid any potential litigious situations from the city of Chicago's transportation department – which claimed the name as proprietary property. Musically, James Pankow (trombone) was about to further cross-pollinate the band's sound with the multifaceted six-song "Ballet for a Girl in Buchannon." The classically inspired suite also garnered the band two of its most beloved hits – the upbeat pop opener "Make Me Smile" as well as the achingly poignant "Color My World" – both of which remained at the center of the group's live sets. Chicago had certainly not abandoned its active pursuit of blending high-octane electric rockers such as "25 or 6 to 4" to the progressive jazz inflections heard in the breezy syncopation of "The Road." Adding further depth of field is the darker "Poem for the People" as well as the politically charged five-song set titled "It Better End Soon." These selections feature the band driving home its formidable musicality and uncanny ability to coalesce styles telepathically and at a moment's notice. The contributions of Terry Kath (guitar/vocals) stand out as he unleashes some of his most pungent and sinuous leads, which contrast with the tight brass and woodwind trio of Lee Loughnane (trumpet/vocals), Walter Parazaider (woodwinds/vocals), and the aforementioned Pankow. Peter Cetera (bass/vocals) also marks his songwriting debut – on the final cut of both the suite and the album – with "Where Do We Go from Here." It bookends both with at the very least the anticipation and projection of a positive and optimistic future.

by Lindsay Planer

Tracklist:

1. Movin' On - 4:06
2. The Road - 3:10
3. Poem for the People - 5:32
4. In the Country - 6:37
5. Wake Up Sunshine - 2:34
6. Ballet for a Girl in Buchannon: Make Me Smile - 3:15
7. Ballet for a Girl in Buchannon: So Much to Say, So Much to Give - 1:11
8. Ballet for a Girl in Buchannon: Anxiety's Moment - 1:00
9. Ballet for a Girl in Buchannon: West Virginia Fantasies - 1:33
10. Ballet for a Girl in Buchannon: Colour My World - 3:00
11. Ballet for a Girl in Buchannon: To Be Free - 1:13
12. Ballet for a Girl in Buchannon: Now More Than Ever - 1:28
13. Ballet for a Girl in Buchannon: Fancy Colours - 5:11
14. Ballet for a Girl in Buchannon: 25 or 6 to 4 - 4:52
15. Prelude - 1:09
16. Ballet for a Girl in Buchannon: A.M. Mourning - 2:05
17. Ballet for a Girl in Buchannon: P.M. Mourning - 1:58
18. Ballet for a Girl in Buchannon: Memories of Love - 4:01
19. It Better End Soon: 1st Movement - 2:33
20. It Better End Soon: 2nd Movement - 3:40
21. It Better End Soon: 3rd Movement - 3:18
22. It Better End Soon: 4th Movement - 0:56
23. It Better End Soon: Where Do We Go from Here - 2:47

Chicago's third effort, much like the preceding two, was initially issued as a double LP, and is packed with a combination of extended jams as well as progressive and equally challenging pop songs. Their innovative sound was the result of augmenting the powerful rock & roll quartet with a three-piece brass section – the members of whom are all consummate soloists. Once again, the group couples that with material worthy of its formidable skills. In the wake of the band's earlier powerhouse successes, Chicago III has perhaps been unrightfully overshadowed. The bulk of the release consists of three multi-movement works: Robert Lamm's (keyboards/vocals) "Travel Suite," Terry Kath's (guitar/vocals) "An Hour in the Shower," and James Pankow's (trombone) ambitious and classically influenced "Elegy." While the long-player failed to produce any Top Ten hits, both Lamm's rocker "Free" – extracted from "Travel Suite" – as well as the infectious "Lowdown" respectively charted within the Top 40. "Sing a Mean Tune Kid" opens the album with a nine-plus minute jam highlighting the impressive wah-wah-driven fretwork from Terry Kath (guitar/vocals) and some decidedly rousing syncopated punctuation from the horns. Lamm's highly underrated jazzy keyboard contributions are notable throughout the tune as he maneuvers Peter Cetera's (bass/vocals) bouncy basslines and the equally limber percussion of Danny Seraphine (drums). "What Else Can I Say" reveals much more of the band's fusion beyond that of strictly pop/rock. The supple and liberated waltz bops around the playful melody line and is further bolstered by one of the LP's most elegant brass arrangements as well as some equally opulent backing vocal harmonies. "I Don't Want Your Money" is a hard-hittin' Kath/Lamm rocker that packs a bluesy wallop lying somewhere between Canned Heat and the Electric Flag. Again, Kath's remarkably funkified and sweet-toned electric guitar work hammers the track home.

Although "Travel Suite" is primarily a Lamm composition, both Seraphine's "Motorboat to Mars" drum solo and the acoustic experimental "Free Country" balance out the relatively straightforward movements. These include the aggressive "Free" and the decidedly more laid-back "At the Sunrise" and "Happy 'Cause I'm Going Home." Kath's "An Hour in the Shower" reveals the guitarist's under-utilized melodic sense and craftsmanship. His husky lead vocals perfectly complement the engaging arrangements, which blend his formidable electric axe-wielding with some equally tasty acoustic rhythm licks. In much the same way that the Beatles did on the B-side medley from Abbey Road (1969), Chicago reveals its rare and inimitable vocal blend during the short "Dreaming Home" bridge. Chicago III concludes with Pankow's six-part magnum opus, "Elegy." Its beautiful complexity incorporates many of the same emotive elements as his "Ballet for a Girl in Buchannon" from their previous long-player. The ironically cacophonous and tongue-in-cheek "Progress" contains both comedic relief as well as an underlying social statement in the same vein as "Prologue, August 29, 1968" from Chicago Transit Authority (1969). The final two movements – "The Approaching Storm" and "Man vs. Man: The End" – are among the most involved, challenging, and definitive statements of jazz-rock fusion on the band's final double-disc studio effort. As pop music morphed into the mindless decadence that was the mid-'70s, Chicago abandoned its ambitiously arranged multifaceted epics, concentrating on more concise songcrafting.

by Lindsay Planer

Tracklist:

1. Sing A Mean Tune Kid - 9:17
2. Loneliness Is Just A Word - 2:38
3. What Else Can I Say - 3:13
4. I Don't Want Your Money - 4:47
Travel Suite:
5. Flight 602 - 2:44
6. Motorboat To Mars - 1:29
7. Free - 2:15
8. Free Country - 5:46
9. At The Sunrise - 2:48
10. Happy 'Cause I'm Going Home - 7:28
11. Mother - 4:31
12. Lowdown - 3:36
An Hour In The Shower:
13. A Hard Risin' Morning Without Breakfast - 1:52
14. Off To Work - 0:45
15. Fallin' Out - 0:53
16. Dreamin' Home - 0:49
17. Morning Blues Again - 1:11
18. When All The Laughter Dies In Sorrow - 1:03
19. Canon - 1:05
20. Once Upon A Time… - 2:34
21. Progress? - 2:34
22. The Approaching Storm - 6:26
23. Man Vs. Man: The End - 1:34

With four gold multi-disc LPs and twice as many hit singles to its credit, Chicago issued its fifth effort, the first to clock in at under an hour. What they lack in quantity, they more than make up for in the wide range of quality of material. The disc erupts with the progressive free-form "A Hit by Varese" – which seems to have been inspired as much by Emerson, Lake & Palmer's Tarkus (1971) or Yes circa Close to the Edge (1972) as by the Parisian composer for whom it is named. Fully 80 percent of the material on Chicago V (1972) is also a spotlight for the prolific songwriting of Robert Lamm (keyboards/vocals). In addition to penning the opening rocker, he is also responsible for the easy and airy "All Is Well," which is particularly notable for its lush Beach Boys-esque harmonies. However, Lamm's most memorable contributions are undoubtedly the Top Ten sunshine power pop anthem "Saturday in the Park" and the equally upbeat and buoyant "Dialogue, Pt. 1" and "Dialogue, Pt. 2." Those more accessible tracks are contrasted by James Pankow's (trombone/percussion) aggressive jazz fusion "Now That You've Gone." Although somewhat dark and brooding, it recalls the bittersweet "So Much to Say, So Much to Give" and "Anxiety's Moment" movements of "Ballet for a Girl in Buchannon" found on Chicago II.

Terry Kath's (guitar/vocals) heartfelt ballad "Alma Mater" seems to be influenced by a Randy Newman sensibility. Lyrically, it could be interpreted as an open letter to his generation; lines such as "Looking back a few short years/When we made our plans and played the cards/The way they fell/Clinging to our confidence/We stood on the threshold of the goal/That we knew, dear" effectively recall the monumental world events that had taken place during the late '60s and early '70s. Likewise, there is an undeniable one-on-one intimated in the verse "And though we had our fights/Had our short tempered nights/It couldn't pull our dreams apart/All our needs and all our wants/Drawn together in our heart/We felt it from the very start." This is a fitting way to conclude the album, if not the entire troubled era.

by Lindsay Planer

Tracklist:

1. A Hit By Varese - 4:51
2. All Is Well - 3:42
3. Now That You've Gone - 4:58
4. Dialog, Pt. 1 - 2:57
5. Dialog, Pt. 2 - 4:16
6. While the City Sleeps - 3:46
7. Saturday in the Park - 3:54
8. State of the Union - 5:52
9. Goodbye - 5:49
10. Alma Mater - 3:47

This is the sixth album from the jazz/pop/rock combo Chicago, and was likewise the first to be recorded at the plush, well-lit, and custom-built Caribou Studios in Nederland, CO. The facility was owned and operated by the band's manager and producer, James William Guercio, and eventually became the group's retreat for their next five (non-compilation) long-players. Another and perhaps more significant change was the incorporation of several "outside" additional musicians – most notably Laudir De Oliveira (percussion), who would remain with the band for the next seven years and eight LPs. Although Chicago had begun as a harder-edged rock & roll band, popular music styles were undergoing a shift during the mid-'70s into a decidedly more middle-of-the-road (MOR) and less-aggressive sound. This is reflected in the succinct pop and light rock efforts, contrasting the earlier lengthy and multi-movement epics that filled their earlier works. Nowhere is this more evident than on Chicago VI's (1973) two Top Ten singles: the easygoing James Pankow (trombone) ballad "Just You & Me" as well as the up-tempo rocker "Feelin' Stronger Every Day," which Pankow co-wrote with Peter Cetera (vocal/bass). This more melodic and introverted sensibility pervades the rest of the disc as well – especially from Robert Lamm (keyboard/vocals), who is particularly prolific, penning half of the material on the disc. Even his sardonically titled "Critics' Choice" – which is undoubtedly a musical rebuttal to Chicago's increasingly negative critical assessment – is a languid and delicate response, rather than a full-force confutation. "Darlin' Dear" – another Lamm contribution – on the other hand, is a horn-fuelled rocker that actually recalls Little Feat more than it does most of Chicago's previous sides. Compositions from other bandmembers include the heartfelt Terry Kath (guitar/vocals) ballad "Jenny," which features some fluid fretwork much in the same vein as that of Jimi Hendrix's "Angel" or "Castles Made of Sand." Additionally, Peter Cetera's (bass/vocals) "In Terms of Two" includes a more down-home and countrified acoustic vibe. While Chicago VI is an undeniably strong effort – supported at the time by its chart-topping status – many bandmembers and longtime enthusiasts were beginning to grow apart from the lighter, pop-oriented material.

by Lindsay Planer

Tracklist:

1. Critics' Choice - 2:48
2. Just You 'N' Me - 3:44
3. Darlin' Dear - 2:58
4. Jenny - 3:33
5. What's This World Comin' To - 5:01
6. Something In This City Changes People - 3:42
7. Hollywood - 3:55
8. In Terms Of Two - 3:30
9. Rediscovery - 4:50
10. Feelin' Stronger Every Day - 4:14

Although commercially successful, Chicago's previous long-player, Chicago VI (1973), had not been received as warmly from both the critics as well as from some bandmembers. Both parties expressed their dissatisfaction with the lighter fare and significantly shorter material. In response, the combo briefly returned to their previously tried and true methodology on their follow-up album. As such, Chicago VII (1974) was not only a double LP, but much of the effort likewise returned them to their former jazz/rock glory while continuing the middle-of-the-road (MOR) ethos that was concurrently impacting the pop charts. Nowhere is this more evident than the trio of sides extracted as singles – including the Top Ten hits "(I've Been) Searching So Long," "Call on Me," and "Wishing You Were Here." The latter of which features some stunning backing vocals from Beach Boys Dennis Wilson, Carl Wilson, and Alan Jardine. The group were continuing in their incorporation of additional musicians, most notably Laudir DeOliveira (percussion) and David J. Wolinski (ARP synthesizer) – both of whom are prominently featured throughout the sides. The opening instrumentals, including "Prelude to Aire," "Aire," and "Devil's Sweet," reflect Daniel Seraphine's (drums) tremendously underrated skills as a writer as well as the combo's recently underutilized talents as ensemble musicians. All three tracks provide a brilliant showcase for the brass/woodwind section(s) to flex their respective muscles, drawing heavily upon the styles of Weather Report and to some extent Miles Davis and Santana. The nature of their seemingly experimental fusion is stretched out even further on "Italian From New York." The cut includes some interesting ARP interjections from Robert Lamm, whose decidedly free-form contributions weave alongside some rubbery and liquefied fretwork courtesy of Terry Kath (guitar/vocals). His lead bobs around Lamm's synthesizer and an equally prominent cool-toned Fender Rhodes keyboard bed. The second half of Chicago VII directly contrasts the less structured instrumentals with more inclusive sides such as the previously mentioned hits "Call On Me" and "Wishing You Were Here." Other highlights include Lamm's funky mid-tempo "Life Saver," Peter Cetera's (bass/vocals) laid-back and unencumbered "Happy Man," and a double shot from Kath in the form of two serene ballads, "Song of the Evergreens" and "Byblos" – which features some stellar acoustic strumming. This collection would be Chicago's final two-disc set by the original lineup and offers the best of the band as improvisational instrumentalists as well as concise, emotive vocalists and song crafters.

by Lindsay Planer

Tracklist:

1. Prelude To Aire - 2:46
2. Aire - 6:31
3. Devil's Sweet - 10:03
4. Italian From New York - 4:14
5. Hanky Panky - 1:53
6. Life Saver - 5:19
7. Happy Man - 3:33
8. I've Been Searching So Long - 4:28
9. Mongonuleosis - 3:29
10. Song Of The Evergreens - 5:23
11. Byblos - 6:19
12. Wishing You Were Here - 4:36
13. Call On Me - 4:03
14. Woman Don't Want To Love - 4:37
15. Skinny Boy - 5:11

Road-weary and running low on steam, the members of Chicago began tinkering with their formula on the nostalgic Chicago VIII. Robert Lamm continued to loosen his grip on the songwriting, allowing Peter Cetera, Terry Kath, and James Pankow to pen the majority of the album. The enthusiasm and drive that the band had displayed on their previous efforts was audibly escaping them, best exemplified by the lazy drawl that Cetera affects on his otherwise rocking "Anyway You Want." Finally, the jazz tinges continued to appear less and less, replaced by a brassy R&B approach that provides a more rigid structure for their tunes. But these factors don't necessarily count against the band, as many songs have a lazy, late-afternoon feel that provides a few feel-good moments. Pankow's "Brand New Love Affair – Part I & II" is a smooth, light rock ballad that Terry Kath wraps his soulful voice around, transforming it into a brooding lament on lost love. This track also begins to incorporate the multi-vocalist approach that would become the trademark of their '80s work, as the second half of the song is sung by Cetera and Lamm as well. Kath's "Oh, Thank You Great Spirit" is another winner, as his delicate vocals drift along on a sparse and psychedelic (for Chicago at least) sea of guitars. Pankow's "Old Days" may be the only other notable track, a powerful rocker that showcases his tight compositional skills and provided the band with the only memorable hit song from the record. Lamm's contributions are the least-commercial songs, as his arty and dynamic tracks are nostalgic entries that show him moving in an atypical direction lyrically and musically. Only his "Harry Truman" really connects, and the instrumental tributes to Depression-era jazz and the goofy singalong ending manage to render the song silly before it can really sink in. Although not terrible by any means, Chicago VIII is heavily burdened by their obvious desire to take a break. The band hits upon some wonderful ideas here, but they are simply too weary to follow them up, and the resulting album has none of the tight orchestration that reigns in their more ridiculous tendencies.

by Bradley Torreano

Tracklist:

1. Anyway You Want - 3:40
2. Brand New Love Affair - Pt I & II - 4:31
3. Never Been In Love Before - 4:12
4. Hideaway - 4:46
5. Till We Meet Again - 2:05
6. Harry Truman - 3:04
7. Oh, Thank You Great Spirit - 7:20
8. Long Time No See - 2:49
9. Ain't It Blue? - 3:31
10. Old Days - 3:32

Although it was their tenth release Chicago X (1976) was actually the band's eighth studio effort – as Chicago IV (1972) had been a live set from Carnegie Hall and Chicago IX (1975), which precedes this disc, was their first best-of collection. Musically, the combo had effectively abandoned their extended free-form jazz leanings for more succinct pop songs. That is not to say that the band couldn't rock, because they could as evidenced by the Terry Kath (guitar/vocals) full-tilt rave-up "Once or Twice," which commences the album. The hot brass section bows deeply and respectfully to their Muscle Shoals counterparts as Kath does his best funky Otis Redding vocal. Showing his tremendous depth of field, Kath bookends the LP with the empowering and positive "Hope for Love." In between those two extremes are some of Chicago's best-known works – such as Peter Cetera's (bass/vocals) chart-topping light rock epic "If You Leave Me Now" and Robert Lamm's (keyboards/vocals) "Another Rainy Night in New York City." The latter side also reveals a minor motif, as it is a Latin-based song about the Big Apple. It follows in the footsteps of the improv-heavy "Italian from New York" from their previous studio effort, the fusion-filled Chicago VII (1974). Lamm contributes a few other tucked-away classics to Chicago X as well – such as the aggressive and sexy "You Get It Up." There are also a pair from James Pankow(trombone/vocals) in the form of the syncopated "You Are on My Mind" – which crossed over onto both the adult contemporary as well as pop music charts. His other composition is the classy brass of "Skin Tight." The upfront horn interjections and overall augmentation are akin to the sound made famous by their West Coast Tower of Power contemporaries. As a majority of their previous efforts had done – all sans their debut – Chicago X was a Top Ten album and "If You Leave Me Now" became a double Grammy winner, for both Best Pop Vocal Performance by a Duo Group or Chorus and Best Arrangement Accompanying Vocalist(s). The latter award was actually not given to the band, but rather to noted string arranger Jimmie Haskell and the group's longtime producer, James William Guercio. Another well-deserved Grammy was given to John Berg for his visually enticing cover art – depicting Chicago's logo on the wrapper of what otherwise appears to be a Hershey chocolate bar. As the disc was released in the summer of the U.S. bicentennial (1976), the all-American image was undoubtedly and duly noted.

by Lindsay Planer

Tracklist:

1. Once Or Twice - 3:04
2. Your Are On My Mind - 3:22
3. Skin Tight - 3:21
4. If You Leave Me Now - 3:58
5. Together Again - 3:53
6. Another Rainy Day In New York City - 3:04
7. Mama Mama - 3:33
8. Scrapbook - 3:32
9. Gently I'll Wake You - 3:36
10. You Get It Up - 3:38
11. Hope For Love - 3:03

Chicago XI (1977) was the final studio effort to feature the original septet, who by this time had been performing and recording for nearly a decade. In late January 1978, founding member Terry Kath (guitar/vocals) accidentally and fatally shot himself, forever altering the band's sound and indeed much of the combo's tenacious rock & roll heart. It is somewhat fitting that their ninth studio release (11th overall) contains two Kath compositions as well as a pair of additional lead vocals. The funky, up-tempo "Mississippi Delta Blues" opens the album with a showcase of his writing and performance skills. The more aggressive "Takin' It On Uptown" is a gritty rocker that further demonstrates Kath's unparalleled fret board prowess. These tougher tracks are counterbalanced by another round of light pop balladry from the usual suspects of Peter Cetera (bass/vocals), whose "Baby, What a Big Surprise" was the perfect Top Ten follow-up to his chart-topping and two-time Grammy-winning "If You Leave Me Now" from Chicago X (1976). Although undeniably successful, the group had become somewhat predictable as well. This, along with the increasingly schizophrenic popular music trend toward both disco and punk, simultaneously stifled the album's other lightweight fare, such as Daniel Seraphine's "Take Me Back to Chicago" or his slightly darker and more heavily orchestrated "Little One," featuring a truly emotive lead vocal from Kath. Speaking of orchestration, Chicago XI also includes a full-blown mini symphony courtesy of noted West Coast arranger Dominic Frontiere, whose résumé includes contributions to artists as far afield as Booker T. & the M.G.'s and Dan Fogelberg to Eartha Kitt or Bing Crosby. On this album, he not only adds well-placed strings to the hit "Baby, What a Big Surprise," but also the more inclusive instrumental "The Inner Struggles of a Man" and the "Prelude" to "Little One." Also worth mentioning are James Pankow's soulful pop ballad "Till the End of Time," which is pulled off with a sonic finesse reminiscent of "Big" Al Anderson during his NRBQ days. Adding to the hauntingly familiar refrain are some sweet vocal inflections and a brassy horn section, who supply a laid-back and understated bed not unlike that of the Q's Whole Wheat Horns. Another blow was dealt to the band's internal structure by way of their somewhat acrimonious split with producer and (at least in the beginning) musical mentor James William Guercio – under whose direction Chicago had been "discovered." Long-existing struggles between the band and management included the predicable and arguable overuse of the distinct Cola-Cola-inspired "Chicago" logo and Roman numeral cataloging – both of which had prominently graced the cover of every single band release thus far. Additional and much less visible conflicts also existed between bandmembers and their producer as well. Fortunately, the spirit of Chicago would re-emerge under the direction of famed soundsmith Phil Ramone for their next effort, Hot Streets (1978).

by Lindsay Planer

Tracklist:

1. Mississippi Delta City Blues 4:43
2. Baby, What A Big Surprise 3:06
3. Till The End Of Time 4:49
4. Policeman 3:59
5. Take Me Back To Chicago 5:18
6. Vote For Me 3:45
7. Takin' It On Uptown 4:46
8. This Time 4:49
9. The Inner Struggles Of A Man 2:44
10. Prelude (Little One) 0:52
11. Little One 5:41

Although Chicago tragically marked its decade anniversary with the bitter loss of lead guitarist Terry Kath, Hot Streets (1978) was not only the first release without him, it was also the band's initial offering away from James William Guercio – with whom the group had worked on every one of its previous dozen long-players. Donnie Dacus (guitar/vocals) was brought in to fill Kath's formidable shoes. His maiden voyage would likewise mark the beginning of a downward spiral in terms of the string of hits that was usually associated with Chicago albums. Both the upbeat and pumping opener "Alive Again" and the typical adult contemporary balladry of "No Tell Lover" became their last Top 40 hits for nearly four years. Phil Ramone's production gives the material an added and noticeable bite. The Peter Cetera (bass/vocals) rocker "Little Miss Lovin" recalls the band's earliest sides by blending an aggressive backbeat with a funky and soulful rhythm. "Gone, Long, Gone," the disc's other Cetera contribution, also stands out for Dacus' spot-on slide guitar intonation, which mimics a similar style used most notably by George Harrison. Although it failed to chart when extracted as a single, Robert Lamm's (keyboards/vocals) "Love Was New" is one of the more jazz-influenced tunes on Hot Streets. The laid-back groove effortlessly carries the melody behind a fusion of light rock and contemporary jazz. The rapidly changing pop music landscape, whose horizons would embrace disco and new wave, would all but abandon Chicago for the group's next few albums. Although the band attempted to adapt to the trends, it would be four LPs and four years before Chicago would re-emerge in full form on its comeback, Chicago 16 (1982).

by Lindsay Planer

Tracklist:

1. Alive Again - 4:10
2. The Greatest Love On Earth - 3:17
3. Little Miss Lovin' - 4:37
4. Hot Streets - 5:21
5. Take A Chance - 4:43
6. Gone Long Gone - 4:00
7. Ain't It Time - 4:14
8. Love Was New - 3:33
9. No Tell Lover - 4:15
10. Show Me The Way - 3:29

While it might be a stretch to claim that disco in effect killed Chicago, as this effort exemplifies, the dance craze certainly didn't help the band, either. After the moderate success of its previous long player, Hot Streets (1978), Chicago seemed to have the fortitude to carry on in the wake of the tragic loss of original member Terry Kath (lead guitar/vocals). With the addition of Donnie Dacus (guitar/vocals) and producer Phil Ramone, Chicago scored a pair of strong Top 40 hits with "No Tell Lover" and "Alive Again." By mid-1979, the fickle pop music tides had fully turned toward the beat-intensive drone of disco. Somewhere along the line the rhythm temporarily fixated the band – much in the same way a deer reacts to oncoming headlights. As Chicago 13 (1979) proves, the results in either instance are not pretty. The nine-plus minute "extended" opener, "Street Player," could easily be mistaken for a Village People number. The same fate befalls the overtly funky and urban-influenced "Paradise Alley." Interestingly, the latter was originally slated as the title track from a concurrent Sylvester Stallone snoozer of the same name. The disc does contain a few redeeming moments, however. Laudir DeOliveira (percussion) contributes the breezy, jazz-flavored "Life Is What It Is." Featuring an equally liberating vocal from Peter Cetera (bass/vocals), it includes one of the more tasteful horn arrangements on the album. The ragtime blues feel on Danny Seraphine's (drums) "Aloha Mama" has some well-seasoned brass augmentation, proving that Chicago had not completely abandoned its roots or audience.

by Lindsay Planer

Tracklist:

1. Street Player - 9:10
2. Mama Take - 4:14
3. Must Have Been Crazy - 3:26
4. Window Dreamin' - 4:11
5. Paradise Alley - 3:42
6. Aloha Mama - 4:11
7. Reruns - 4:30
8. Loser With A Broken Heart - 4:43
9. Life Is What It Is - 4:37
10. Run Away - 4:20

Despite containing a few hidden gems, Chicago's 14th long player went primarily unnoticed when first released in the summer of 1980. The concurrently popular music styles of new wave and punk, as well as the last remnants of disco, had all but abandoned the septet's dependably horn-driven pop and dramatic balladry. In retrospect, it seems that the band had not yet recovered from the tragic loss of Terry Kath (guitar) less than two years earlier. Although his role had decreased somewhat by the mid-'70s, Kath continued to provide Chicago with both a stabilizing spirit as well as a unifying sound. Former Stephen Stills sideman Donnie Dacus (guitar) helped out on the definitely unlucky release Chicago 13 (1979). However, he had already jumped ship before the band began working on Chicago XIV (1980) and Chris Pinnick (guitar) soon became the combo's third guitarist in as many years, and after a decade with the same primary personnel. On top of that and despite ten years of significant successes, Chicago was no longer considered a top priority by its record label. This significant lack of direction resulted in one of the group's more unfocused entries. The vast majority of the album's material came from either the Peter Cetera (bass/vocals) or Robert Lamm (keyboards/vocals) camps. While the pair had long been considered Chicago's strongest respective songwriters, Cetera in particular was emerging with a definitive and soulful delivery especially notable on "Song for You" and "Overnight Café," though he bails on the half-baked "Hold On." Conversely, Lamm's "Manipulation" is a strong and aggressive opener, yet any initial momentum quickly dissipates with lesser sides such as "Upon Arrival" or the tongue-in-cheek "I'd Rather Be Rich." A decidedly more successful outing from Cetera, Lamm, and Danny Seraphine (drums) is "Thunder and Lightning" – which is highlighted by some jazzy chord changes reminiscent of Steely Dan's "Fez" or "Josie."

by Lindsay Planer

Tracklist:

1. Manipulation - 3:29
2. Upon Arrival - 3:50
3. Song For You - 3:43
4. Where Did The Lovin' Go - 4:07
5. Birthday Boy - 4:59
6. Hold On - 4:17
7. Overnight Cafe - 4:20
8. Thunder And Lightning - 3:34
9. I'd Rather Be Rich - 3:07
10. The American Dream - 3:20

Chicago 16 finally gave Chicago a big hit after a four-year drought, thanks in large part to new producer David Foster, who steered the jazz-rock veterans toward a streamlined, crisply produced pop direction on that 1982 effort. Given that success, it's no surprise that the septet teamed with Foster again for its next album, 1984's Chicago 17 (apparently Roman numerals were left behind along with their progressive jazz-rock). It's also no surprise that Foster took an even greater control of 17, steering the group further down the adult contemporary road and pushing Peter Cetera toward the front of the group, while pushing the horns toward the back. Indeed, it's often possible to not notice the horns on 17; they either fade into the background or meld seamlessly with the synthesizers that are the primary instruments here, providing not just the fabric but foundation of nearly all the arrangements, as synth bass and drum machines replaced the rhythm section. This did not sit well with many longtime fans – and it may have also caused some tension within the group, since Cetera left after this album – but it did make for the biggest hit album in Chicago's history, going quadruple platinum and peaking at number four on the Billboard charts. A big reason for its success is the pair of hit ballads in "Hard Habit to Break" and "You're the Inspiration," two big and slick dramatic ballads that each peaked at number three on the charts and helped set the sound for adult contemporary pop for the rest of the decade; the likes of Michael Bolton and Richard Marx are unimaginable without these songs existing as a blueprint (in fact, Marx sang backup vocals on "We Can Stop the Hurtin'" on 17).

Ballads were a big part of 17 – in fact, these hits and album cuts like "Remember the Feeling" are among the first power ballads, ballads that were given arena rock flourishes and dramatic arrangements but never took the focus off the melody, so housewives and preteens alike could sing along with them. Power ballads later became the province of hair metal bands like Bon Jovi and Poison, but Foster's work with Chicago on 17 really helped set the stage for them, since he not only gave the ballads sweeping rock arrangements, but the harder, punchier tunes here play like ballads. Even when the band turns up the intensity here – "Stay the Night" has a spare, rather ominous beat that suggests they were trying for album-oriented rock; "Along Comes a Woman" has a stiff drum loop and a hiccupping synth bass that suggests dance-pop – the music is still slick, shiny, and soft, music that can appeal to the widest possible audience. 17 did indeed find the widest possible audience, as it ruled radio into late 1985, by which time there were plenty of imitators of Foster's style. There may have been plenty of imitators – soon, solo Cetera was one of them, making music that was indistinguishable from this – but nobody bettered Foster, and Chicago 17 is his pièce de résistance, a record that sounded so good it didn't quite matter that some of the material didn't stick as songs; as a production, it was the pinnacle of his craft and one of the best adult contemporary records of the '80s, perhaps the best of them all. Certainly, it's hard to think of another adult contemporary album quite as influential within its style as this – not only did it color the records that followed, but it's hard not to think of Chicago 17 as the place where soft rock moved away from the warm, lush sounds that defined the style in the late '70s and early '80s and moved toward the crisp, meticulous, synthesized sound of adult contemporary pop, for better or worse, depending on your point of view.

by Stephen Thomas Erlewine

Tracklist:

1. Stay The Night - 3:52
2. We Can Stop The Hurtin' - 4:12
3. Hard Habit To Break - 4:46
4. Only You - 3:49
5. Remember The Feeling - 4:30
6. Along Comes A Woman - 4:16
7. You're The Inspiration - 3:52
8. Please Hold On - 3:43
9. Prima Donna - 4:35
10. Once In A Lifetime - 4:11

Chicago 17 was a peak for the '80s incarnation of Chicago, the ideal blend of Peter Cetera's adult-pop craft and David Foster's slick yet lush production, an album that spawned four huge singles and went platinum six times, turning it into their biggest hit ever. There was nowhere to go but down but there was little indication how far Chicago 18 would take them. Cetera decided that the blockbuster success of Chicago 17 would be a perfect launching pad for a solo career, so he bolted prior to the recording of 18 – but the band didn't pause, hiring Jason Scheff as his replacement and retaining Foster as producer in the hopes of replicating the success of its predecessor. Certainly, Chicago 18 is within the vein of 17 but there are some crucial differences, all stemming from the departure of Cetera. Without him, a certain warmth is missing, both in the writing and in the sound, as all the smooth soft sounds turn into something strident and slick. Foster's production relies too heavily on stiff synthesized sounds and boomy echoes; everything is pushed to the front, so it's not easy to sink into the production, the way it was on 17. This, along with a severe drought in good new songs – only the by-committee power ballad "Will You Still Love Me?" works in this context (the other hit single, "If She Would Have Been Faithful…," has just too weird a conceit to work) – is a greater detriment than the utterly anonymous Scheff, who performs his role as the stand-in Cetera ably. He slips into the allotted spaces in Foster's production, never standing out from the wall of sound – and neither does Chicago as a band, either, even if they try so mightily to assert their identity that they revive "25 or 6 to 4," a misguided move that only reveals that they're not in control here, Foster is.

by Stephen Thomas Erlewine

Tracklist:

1. Niagara Falls - 3:46
2. Forever - 5:19
3. If She Would Have Been Faithful… - 3:50
4. 25 Or 6 To 4 - 4:21
5. Will You Still Love Me? - 5:43
6. Over and Over - 4:19
7. It's Alright - 4:28
8. Free Flight - 0:25
9. Nothin's Gonna Stop Us Now - 4:27
10. I Believe - 4:23
11. One More Day - 4:14

Chicago 19 contained four Top Ten hits, "I Don't Wanna Live Without Your Love," "Look Away" (which hit number one), "You're Not Alone," and "What Kind of Man Would I Be?," yet did not reach the Top Ten on the album list, definite proof that Chicago was reaching an easy listening, (or adult contemporary) radio audience but missing the rock audience. It paid the bills, though.

by William Ruhlmann

Tracklist:

1. Heart In Pieces - 5:08
2. I Don't Wanna Live Without Your Love - 3:59
3. I Stand Up - 4:06
4. We Can Last Forever - 3:45
5. Come In From the Night - 4:43
6. Look Away - 4:03
7. What Kind Of Man Would I Be? - 4:23
8. Runaround - 4:11
9. You're Not Alone - 3:59
10. Victorious - 6:03

The '90s found Chicago's lineup minus drummer Daniel Seraphine, but with guitarist Dawayne Bailey, who had been a sideman, a full-fledged member. It also found the group at the closest thing to a career crisis in a decade. This album sold poorly and spun off only one Top 40 hit, "Chasin' the Wind," despite containing some typical, if not outstanding, material in tunes like "You Come to My Senses" (which belatedly scaled the adult contemporary chart) and "Explain It to My Heart." Clearly, a new approach was in order.

by William Ruhlmann

Tracklist:

1. Explain It To My Heart - 4:47
2. If It Were You - 4:42
3. You Come To My Senses - 3:50
4. Somebody, Somewhere - 4:22
5. What Does It Take - 4:38
6. One From The Heart - 4:44
7. Chasin' The Wind - 4:18
8. God Save The Queen - 4:20
9. Man To Woman - 3:57
10. Only Time Can Heal The Wounded - 4:44
11. Who Do You Love - 3:20
12. Holdin' On - 4:15

Generally, when contemporary performers have taken on retro projects like this one, they have tended to emphasize their fidelity to the sources – consider Linda Ronstadt hiring arranger/conductor Nelson Riddle to recreate his string backgrounds for albums like What's New. Chicago takes a different approach to the swing band classics it tackles here – it Chicago-izes them. The arrangements are by trombonist James Pankow, who manages to make everything from Duke Ellington's "Caravan" to Glenn Miller's theme "Moonlight Serenade" sound like a lost Chicago track. Those familiar with the originals, many of which were instrumental hits, may be surprised to hear the lyrics to songs like "Sing, Sing, Sing." Clearly, the group is aiming more at pleasing contemporary fans than evoking nostalgia, and it succeeds in reinventing some well-established standards, even if older fans may find some of these versions radically altered.

by William Ruhlmann

Tracklist:

1. Chicago - 3:07
2. Caravan - 3:22
3. Dream a Little Dream of Me (with Jade) - 3:13
4. Goody Goody - 4:04
5. Moonlight Serenade - 4:26
6. Night & Day - 5:36
7. Blues in the Night - 6:04
8. Sing, Sing, Sing (with the Gypsy Kings) - 3:22
9. Sophisticated Lady - 5:11
10. In the Mood - 3:43
11. Don't Get Around Much Anymore - 3:38
12. Take the "A" Train - 5:37
13. String Of Pearls (bonus track for Japan) - 3:07

When Chicago first achieved national recognition in the late '60s and early '70s, it wasn't hip for rock bands to make Christmas albums. Things changed, of course, but it took until 1998 for Chicago to finally fill this missing item in its catalog, at a time when the group seemed to have entered that phase of its career when it wanted to keep putting out records but didn't want to risk releasing new material. (Chicago's three previous releases had consisted of an album of big-band standards and two greatest-hits sets.) Whatever the circumstances, however, it was good to hear the Chicago style applied to seasonal standards. As ever, the group was a cooperative unit, with the three lead singers – Bill Champlin, Robert Lamm, and Jason Scheff – taking turns on the different songs, arranged by various bandmembers and always allowing for generous contributions by the horn players Lee Loughnane, James Pankow, and Walt Parazaider. The songs were all seasonal favorites except for Loughnane and John Durrill's "Child's Prayer," featuring a choir dominated by the musicians' children, which sounded so much like a Middle Ages English hymn that it fit right in. Highlights included a particularly moving vocal on "Have Yourself a Merry Little Christmas" by the gruff-voiced Champlin, a wonderful doubled flute passage by Parazaider on "O Come All Ye Faithful," and a rare lead vocal by Loughnane on "Let It Snow! Let It Snow! Let It Snow!" But the whole album, pristinely produced by E Street Band pianist Roy Bittan, was well performed. It sounded exactly like you would expect a Chicago Christmas album to sound, and if you liked the band and holiday music, you'd like the record, too.

by William Ruhlmann

Tracklist:

1. Little Drummer Boy - 4:05
2. God Rest Ye Merry, Gentlemen - 3:23
3. Have Yourself A Merry Little Christmas - 4:03
4. The Christmas Song - 3:39
5. O Come All Ye Faithful - 4:46
6. Child's Prayer - 3:23
7. Feliz Navidad - 4:18
8. Santa Claus Is Coming To Town - 3:56
9. Christmas Time Is Here - 3:48
10. Let It Snow! Let It Snow! Let It Snow! - 3:29
11. What Child Is This - 4:41
12. White Christmas - 2:29
13. Silent Night - 3:17
14. One Little Candle - 1:25

Despite the possible euphemisms of the title, 2006's Chicago XXX is not the band's raciest album since Hot Streets, nor is it their installment in the extreme-action spy series kicked off by Vin Diesel – instead, it's the veteran group's first proper studio album since 1995's flop Night and Day: Big Band, and considering that was a detour into retro-swing, XXX is their first mainstream pop album since 1991's Twenty 1, which is a 15-year gap between pop records. That's an awfully long wait – in the meantime, the band has been putting out live albums, Christmas records and hit comps, bringing the total up to 30 LPs – but apart from the diluted trip-hop beat from "Feel (Hot Single Mix)" that kicks off the album, you'd never know that XXX was made and recorded in 21st century. It sounds like it could have been released in 1991 as Twenty 1, since it contains the same kind of sunny good-time pop and power ballads that made Chicago a staple on adult contemporary stations in the late '80s. But there is a difference this time around: XXX is actually a better overall record than anything the group released in the wake of Peter Cetera's departure. Song for song, it's memorably melodic and Jay Demarcus, best-known as a member of contemporary country-pop act Rascal Flatts, has given the album a bright sheen that is nevertheless varied, punching up the horns on "Better," emphasizing the sweet melody on the "Hard to Say I'm Sorry" dead ringer "King of Might Have Been," turning up the guitars on "Caroline," a happy variation on "Look Away." It sounds as if Chicago and Demarcus went into the album with the intention that this would be a hit along the lines of Chicago 19, and while that kind of wishful thinking may not be fulfilled – there are very few radio stations in 2006 that will play this kind of slick adult contemporary music – this sense of purpose and drive has resulted in a surprisingly strong, thoroughly entertaining comeback album that's actually better than the albums it intends to emulate. It's not for every Chicago fan – those who long for either the early-'70s or early-'80s heydays will find this too produced and MOR for their liking – but fans of Chicago's late-'80s albums will find themselves right at home on XXX.

by Stephen Thomas Erlewine

Tracklist:

1. Feel (Hot Single Mix) - 4:01
2. King Of Might Have Been - 3:52
3. Caroline - 3:39
4. Why Can't We - 4:07
5. Love Will Come Back - 3:48
6. Long Lost Friend - 4:33
7. 90 Degrees And Freezing - 3:52
8. Where Were You - 4:17
9. Already Gone - 6:51
10. Come To Me, Do - 4:36
11. Lovin' Chains - 3:56
12. Better - 4:41
13. Feel (With Horns) - 4:30

Recorded in 1993, Stone of Sisyphus didn't appear as scheduled in 1994 due to Chicago's record label, Warner, believing the album to be too uncommercial. As it often happens with unreleased records by major acts, a legend built up around the scrapped record, at least among devoted Chicago fans, the kind who would appreciate the musical stretching found on Stone of Sisyphus. Frankly, they may be the only group to appreciate the departures on Stone of Sisyphus, as it's a curious creature – a splashy, expensive mainstream album that's restless yet not quite experimental but entirely devoid of pop songs. If this had been the Chicago of the early '70s, who specialized in ten-minute jazz-rock songs on their series of double albums, perhaps it would have been easier for the label to accept the variety of sounds here, but this was a Chicago coming out of five years of big placid adult contemporary hits – songs that courted an audience that would bristle at the stiff funk of "Mah-Jong" or the Jordanaires singing harmonies on the airy "Bigger Than Elvis." Surely, any listener would shudder at "Sleeping in the Middle of the Bed," an absurd socially conscious rap track by Robert Lamm that almost certainly was the final nail in the coffin for Warner, as it's hard to imagine any audience that would find this appealing. "Sleeping in the Middle of the Bed" also goes a long way toward illustrating just how odd Stone of Sisyphus is: it's tame compared to any other record from 1993-1994, but judged alongside Chicago's other albums it's flat-out bizarre, the sound of a group desperate for a departure in the wake of a flop (1991's Chicago Twenty 1), so the bandmembers will try anything different within the confines of their sound. This means not abandoning the pristine productions – this time courtesy of Peter Wolf, not the guy from J. Geils – but it does mean leaving melody behind, switching up song constructions, getting a little jazzy again, and indulging a social consciousness, all things that reward the patience of loyal listeners and bewilder anybody else.

by Stephen Thomas Erlewine

Tracklist:

1. Stone Of Sisyphus 4:11
2. Bigger Than Elvis 4:31
3. All The Years 4:16
4. Mah-Jong 4:42
5. Sleeping In The Middle Of The Bed 4:45
6. Let's Take A Lifetime 4:56
7. The Pull 4:17
8. Here With Me (A Candle For The Dark) 4:11
9. Plaid 4:59
10. Cry For The Lost 5:18
11. The Show Must Go On 5:25

bonus tracks:
12. Love Is Forever (Demo) 4:14
13. Mah-Jong (Demo) 4:59
14. Let's Take A Lifetime (Demo) 4:15
15. Stone Of Sisyphus (No Rhythm Loop) 4:35




All thanks go to kolushew