xmhefny
21-08-2008, 10:30 AM
Chicago - 12 Albums
Chicago Transit Authority (Chicago I)
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Having morphed--some would argue devolved--into a predictable ballad machine by the '80s, it's good to be reminded of Chicago's original artistic ethos and vibrant promise. And what better place to start than their spectacular 1969 debut? This digitally remastered edition compiles the double album on a single disc that retains the original LP artwork and features a 16-page booklet with a retrospective essay (based on new band member interviews) by David Wild. Chicago weren't yet the '70s hit-singles factory they would shortly become, and CTA showcases a band whose muscular musicianship and creative restlessness fostered two LPs worth of music that was as aggressive and far-ranging as its singles were friendly and inviting. Tellingly, the hits showcased here--"Does Anybody Know What Time It Is?" "Beginnings," "Questions 67 and 68," and their rhythmically pumped cover of the Spencer Davis Group's "I'm a Man"--were often edited down from the original collection's suite-heavy structure. But those familiar cuts belie the downright progressive and angular nature of much of the rest, which fuses Terry Kath's neo-psychedelic guitar (which careens to noisy, feedback-laden Hendrixesque extremes on "Free Form Guitar") to one of rock's pioneering horn sections with enough experimentalism ("Poem 58") that it frequently overwhelms their undeniable genius with a pop song. Chicago would seldom sound so adventurous after this, one of rock's greatest debut albums. --Jerry McCulley
1. Introduction
2. Does Anybody Really Know What Time It Is?
3. Beginnings
4. Questions 67 And 68
5. Listen
6. Poem 58
7. Free Form Guitar
8. South California Purples
9. I'm A Man
10. Prologue, (August 29, 1968)
11. Someday (August 29, 1968)
12. Liberation
http://rapidshare.com/files/31386391/Chic1.rar
Chicago II (1969)
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If there is one album that epitomizes Chicago's early rock-jazz synthesis along with their consummate, Top 40 instincts, this is it. Filled with memorable songs, impressive instrumental showcases, and great vocal performances, Chicago II displays the rock & brass ensemble at their early peak. Including classics like "Colour My World" and "25 or 6 to Four," this recording presents sparkling performances from three equally brilliant singers. The voices of Robert Lamm, Peter Cetera, and the late Terry Kath combined with particularly precise horn arrangements and exacting production by James William Guercio make this collection particularly noteworthy. Songs like "Make Me Smile" were swinging musical dramas with infectious singing and bold, melodic hooks. Recorded in 1969, II was musically progressive and exceptionally pop savvy. This is Chicago at their absolute best. --Mitch Myers
Movin' In
The Road
Poem for the People
I the Country
Wake Up Sunshine
Make Me Smile
So Much to Say, So Much to Give
Anxiety's Moment
West Virginia Fantasies
Colour My World
To Be Free
Now More Than Ever
Fancy Coours
25 or 6 to 4
Prelude
A.M. Mourning
P.M. Mourning
Memories of Love
1st Movement
2nd Movement
3rd Movement
4th Movement
where Do we Go From Here[/color]
http://rapidshare.com/files/25869078/Chic2.rar
Chicago III (1971)
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CHICAGO III was originally released in January 1971 as (appropriately) Chicago's third double album inside two years. The first two, THE CHICAGO TRANSIT AUTHORITY (April 1969) and CHICAGO (January 1970) were big smashes and blessed with (unintentional) hits - part of the reason they're still big favorites. CHICAGO III was created in the same album-oriented manner as the first two and, this time around, there wasn't a goldmine of singles to be found; no "25 Or 6 To 4" and no "Beginnings". And this is part of the reason CHICAGO III hasn't worn as well as its predecessors, but that is also part of its charm. Both "Free" and "Lowdown" were hits, albeit on a lesser scale. Another reason for the album's overlooked nature is perhaps the fact that it was another double album in a succession of three. Never mind - CHICAGO III is every bit as inventive and meaningful as the previous two albums and a concentrated listening will bear this out. The band's musical palette was far more versatile on this album utilizing funk ("Sing A Mean Tune Kid", "Free") and even the avant-garde ("Free Country", "Progress?"). There were, in addition, three suites to be found on the album, "Travel Suite", Terry Kath's "An Hour In The Shower" and James Pankow's "Elegy". Some of the passages in these extended pieces are brilliant and some of them drag a bit, which could also be a cause for the lower regard the third album. All in all, CHICAGO III is a great and very essential Chicago release. It may take a few listens to unlock its charms but it is a most rewarding album and stands as a great, if slightly flawed creation WITHOUT having any classic singles to boost it. This album originally peaked at # 2 in early 1971 and remained in Billboard for well over a year - a definite hit. This new Rhino-remastered edition is the best quality you can get; soundwise and packagewise. There is a (slightly short) essay to go with it and comments from various band members. CHICAGO III encapsulates a time when artistic freedom and experimation were greatly encouraged, while today it is largely shunned.
Sing a Mean Tune Kid
Loneliness Is Just A Word
What Else Can I Say
I Don't Want Yur Money
Flight 602
Motorboat to Mars
Free
Free Country
At The Sunrise
Happy 'Cause I'm Going Home
Mother
Lowdown
A Hard Risin' Mornin Without Breakfast
Off To Work
Fallin' Out
Dreamin' Home
Morning Blues Again
When All The Laughter Dies In Sorry
Canon
Once Upon A Time ....
Progress?
The Approaching Storm
Man Vs. Man: The End
http://rapidshare.com/files/25874316/Chic3.part1.rar
http://rapidshare.com/files/25880462/Chic3.part2.rar
Chicago IV - At Carnegie Hall, Vol. 1-4 (1971)
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After issuing three consecutive studio double LPs, Chicago topped themselves with this four-album live box set. As the title suggests, At Carnegie Hall, Vols. 1-4 (Chicago IV) (1971) finds the band at the venerable New York City venue during a five-night stand (April 5-April 10) in the spring of 1971. The septet -- which includes the respective talents of Terry Kath (lead guitar/vocals), Robert Lamm (keyboards/vocals), Peter Cetera (bass/vocals), Danny Seraphine (drums), Lee Loughnane (trumpet/vocals), James Pankow (trombone), and Walter Parazaider (woodwinds/vocals) -- were at their unquestionable peak of initial popularity. Their previous three double LPs continued extended runs on the pop album chart and likewise spawned a number of hit singles. So by the time the group hit the Big Apple for these shows, they were among the hottest things happening.
Chicago's set list is wholly representative of the material from Chicago Transit Authority (1969), Chicago II (1970), and Chicago III (1971) and includes several extended multi-song medleys from each. The band winds its way through muscular versions of the epic "Ballet for a Girl in Buchannon," "Travel Suite," as well as lengthy renderings of deeper cuts such as "South California Purples," "Fancy Colours," and the ten-minute-plus opening "In the Country." One of the set's most notable highlights is the politically charged "For Richard and His Friends." The lengthy and well-jammed-out cut is both groovy and propulsive. However, the acoustics at Carnegie Hall are quite frankly not (and really never have been) properly suited for heavily amplified music. While the percussion and electric guitars are clearly audible, the woodwind and brass section come off sounding extremely thin and devoid of any real timbre. This is unfortunate, as a primary component of the band is the contrasting textures between the two.
Enthusiasts seeking a much more sonically accurate portrait should by whatever means necessary locate the Live in Japan 1972 two-CD set -- which also includes tracks from Chicago's fifth effort. [Rhino released a deluxe edition of At Carnegie Hall in 2005. The mini-box set contains a remastered version of the quadruple album spread out over three CDs, plus a disc of unreleased material from the concerts. Reproductions of the three posters included in the original set are included, along with a 36-page booklet that includes new liner notes, the original artwork, plus a list of all the concerts Chicago played between 1967 and 1971.] Review by Lindsay Planer (allmusic.com)
CD1
1. In the Country (10:35)
2. Fancy Colours (5:15)
3. Does Anybody Really Know What Time It Is? [Free Form Intro] (6:20)
4. Does Anybody Really Know What Time It Is? (3:26)
5. South California Purples (15:34)
6. Questions 67 and 68 (5:35)
7. Sing a Mean Tune Kid (12:53)
8. Beginnings (6:27)
CD2
1. It Better End Soon: 1st Movement (2:54)
2. It Better End Soon: 2nd Movement (Flute Solo) (5:00)
3. It Better End Soon: 3rd Movement (Guitar Solo) (2:42)
4. It Better End Soon: 4th Movement (3:09)
5. It Better End Soon: 5th Movement (2:07)
6. Introduction (7:09)
7. Mother (8:20)
8. Lowdown (3:5
9. Flight 602 (3:31)
10. Motorboat to Mars (2:59)
11. Free (5:15)
12. Where Do We Go from Here? (4:0
13. I Don't Want Your Money (5:22)
CD3
1. Happy 'Cause I'm Going Home (7:55)
2. Ballet for a Girl in Buchannon: Make Me Smile (3:31)
3. Ballet for a Girl in Buchannon: So Much to Say, So Much to Give (0:59)
4. Ballet for a Girl in Buchannon: Anxiety's Moment (1:0
5. Ballet for a Girl in Buchannon: West Virginia Fantasies (1:30)
6. Ballet for a Girl in Buchannon: Colour My World (3:26)
7. Ballet for a Girl in Buchannon: To Be Free (1:21)
8. Ballet for a Girl in Buchannon: Now More Than Ever (3:25)
9. A Song for Richard and His Friends (6:5
10. 25 or 6 to 4 (6:34)
11. I'm a Man (8:51)
Bonus CD4
1. Listen (4:16)
2. Introduction (6:36)
3. South California Purples (12:41)
4. Loneliness Is Just a Word (2:44)
5. Free Form Intro (Naseltones) (5:5
6. Sing a Mean Tune Kid (10:50)
7. An Hour in the Shower: A Hard Risin' Morning Without Breakfast/Off to Work (5:59)
8. 25 or 6 to 4 (6:20)
http://rapidshare.com/files/45295252/Chic4.part1.rar
http://rapidshare.com/files/45303896/Chic4.part2.rar
http://rapidshare.com/files/45317896/Chic4.part3.rar
http://rapidshare.com/files/46198032/Chic4.part4.rar
http://rapidshare.com/files/45292550/Chic4.part5.rar
Chicago V (1972)
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Though it may not have been clear at the time, Chicago's fifth album marked something of a turning point for the most successful American rock act of the 1970s. V was not only the band's first single-disc release, but, incredibly, its 11th LP worth of music in just three years. That Herculean workload may have watered down their previous studio album (III), but it also seemed to teach them a few important lessons as well. Here they manage not only one of their biggest hits (the joyous "Saturday in the Park"), but a stubborn, focused retrenchment of their most adventurous musical instincts in the bargain. That notion is clear from the intentionally ironic opening of "A Hit by Varese," through cuts like "While the City Sleeps," "State of the Union," and the autobiographical "Alma Mater," which bristle with the band's jazzy instincts and avant-garde influences. Even the album's other Top 30 hit, "Dialogue (Part I & II)," remains one of its more unusual chart entries. This digitally remastered new edition contains three bonus tracks (a Terry Kath noise-guitar-powered, previously unreleased studio take of "A Song for Richard and His Friends," the gritty outtake "Mississippi Delta City Blues," and the original single edit of "Dialogue") as well as Don Heckman's new liner notes, which feature insightful comments from several band members. --Jerry McCulley
A Hit By Varese
All Is Well
Now That You've Gone
Dialogue (Part One)
Dialogue (part Two)
While The City Sleeps
Saturday In the Park
State of the Union
Goodbye
Alma Mater
Download Link: http://rapidshare.com/files/25910217/Chic5.rar
Chicago VI (1973)
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This band continues to progress in terms of musical expansion. Once it was the first band in the shadow of Blood, Sweat and Tears, combining rock tempos with jazz solos. Now it has become more vocally oriented, offering a pastoral sound that leads into temporal solos. It's nice to hear the sound of the horns, of course, but they aren't overpowering. All instruments play with a controlled exuberance, but it is the strength of the ensemble singing that shines through. "In Terms Of Two" almost sounds like a Gilbert O'Sullivan inspirational effort, with a harmonica adding a new trill to the band's blowing abilities. Best cuts: "Feelin' Stronger Every Day," "Hollywood," "Just You 'N' Me."
- Billboard, 1973.
Critics' Choice
Just You 'N' Me
Darlin' Dear
Jenny
What's This World Coming To
Something In This City Changes People
Hollywood
In Terms of Two
Rediscovery
Feelin' Stronger Every Day
Download Link: http://rapidshare.com/files/25912166/Chic6.rar
Chicago VII (1974)
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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. [The 2002 CD reissue not only includes the brilliantly remastered contents of the original double LP set, but also a previously unissued rehearsal of "Byblos" as a supplementary side, as well as 12 pages of appropriate memorabilia, photos, and newly penned text.] ~ Lindsay Planer, All Music Guide
Prelude to Aire
Aire
Devil's Sweet
Italian From New York
Hanky Panky
Life Saver
Happy Man
(I've Been) Searchin' So Long
Mongonucleosis
Song of the Evergreens
Byblos
Wishing You Were Here
Call On Me
Women Don't Want to Love Me
Skinny Boy
Bybloss (Rehearsal)
http://rapidshare.com/files/25920068/Chic7.part1.rar
http://rapidshare.com/files/25920432/Chic7.part2.rar
Chicago VIII (1975)
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While it's difficult to picture anyone failing to be amused by the intentional ludicrousness of, say, dedicating an album to the revolution or making the first addition to a lineup in eight years a conga player when nobody in the group can really sing, this superb satirical group's high jinks have traditionally gone over the head of your average rock buff. Even while critics have been acclaiming them indefatigably since their emergence, the masses have either vilified or simply ignored the Chi-guys.
The prophetically titled VIII, though, will almost certainly liberate this witty eightsome from theonerous status of "critics band" and endear them at least to an appreciable hunk of the mass audience, for the comedic intentions of this veritable laff-riot of an album will be instantly apparent to even the most imbecilic diehard.
The chuckles begin with the cover -- yet another variation on that cornball logo they've been schlepping around to knee-slapping effect since 1969 -- and turn into unabashed giggles with the discovery that, in addition to a free poster, one also gets a free iron-on patch with this record. How deliciously, ludicrously 1973! Leave it to Jimmy Guercio and his zany writers to neglect to mention in the ironing-on instructions that one musst first remove the garment to which he desires to affix the patch. This gritic giggled hysterically all the way to the emergency hospital with second-degree burns on his chest!
While no single cut is as hilarious as "Critics Choice," Bob Lamm's classic sendup of people who get upset by disapproving reviews on Chicago VI or VII or whichever, there are nonetheless giggles galore to be derived from the actual music here. Check out, for instance, "Anyway You Want," a wonderful parody of a group attempting to perform Jimmy Reed's "Tell Me What You Want Me to Do" without having first learned it. Or "Hideaway," whose music is a toungue-in-cheek pastiche of those dodo Doobie Brothers' "China Grove" and Free's "Fire and Water," with lyrics right out John Denver at his most mawkish. Or "Oh, Thank You Great Spirit," wherein that irrepressible cut-up Terry Kath -- he of the funniest Alvin Lee impression ever -- exorcises those problems that had been "hassling [his] head!"
Forget you found it difficult to get heavily into this group's finely honed satire in the past. Chicago VIII will make you laugh until actual tears race one another down your cheeks. This is one horn band whose time has come!
- John Mendelsohn, Rolling Stone, 6/19/75.
Anyway You Want
Brand New Love Affair - Part I & II
Never Been In Love Before
Hideaway
Till We Meet Again
Harry Truman
Oh, Thank You Great Spirit
Long Time No See
Ain't It Blue
Old Days
Download Link: http://rapidshare.com/files/25915001/Chic8.rar
Chicago IX (1975)
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First greatest hits package for this all star group, one of the first to mix the sounds of rock and horns. While often considered an album oriented band, the seven have had their share of hit singles over the years, as this set aptly demonstrates. Equally impressive, they have scored with several kinds of songs -- from jazz flavored to wild big band material to fun rockers to simpler tunes. The material has also covered a wide variety of subject matter. With the various musical feels and the fine combinations of lead and harmony vocals the group stands heads above most other "supergroups" musically speaking, and, in fact, rank as one of the few legitimate American super bands. Best cuts: "25 Or 6 To 4," "Does Anybody Really Know What Time It Is," "Saturday In The Park," "Feelin' Stronger Everyday," "Wishing You Were Here," "Beginnings."
- Billboard, 1975.
25 or 6 to 4
Does Anybody Really Know What Time It Is?
Colour My World
Just You 'N' Me
Saturday In The Park
Feelin' Stronger Every Day
Make Me Smile
Wising You Were Here
Call On Me
(I've Been) Searchin' So Long
Beginnings
Download Link: http://rapidshare.com/files/25928195/Chic9.rar
Chicago XI (1977)
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CHICAGO XI was issued in September 1977 and in hindsight has emerged as an era-closer. They dispensed with James William Guercio's production services (feeling he was dominating too much) and in January 1978, Terry Kath accidentally shot himself and died. Remarkably, his presence on CHICAGO XI is at its most intense since the third album in 1971, with him singing 4 out of the 11 songs. Peter Cetera wrote the only big hit on the album "Baby What A Big Surprise" and the album topped out at # 6 at home, a big hit, but clearly Chicago were beginning to lose ground on the charts by this time. Still there are many highlights here. "Mississippi Delta City Blues", an old Terry Kath number from the early days, gives the album a great beginning, full of his great playing and vocals as well as those trademark horns. Robert Lamm's sympathetic "Policeman" is a very affecting ballad, while "Take Me Back To Chicago" (which was NOT autobiographical, though it had personal relevance) proved that the band also had a talented songwriter in drummer Danny Seraphine. Lee Loughnane's "This Time" is also a mid-tempo pleaser, while the album ends on a poignant and high-spirited note with Danny's "Prelude (Little One)" and "Little One" itself, sung memorably by Terry Kath. You really feel the loss of Terry on these last two cuts - in fact, on the whole album. The band were devastated by his tragic passing, yet persevered and decided to carry on. Unfortunately, the widely-changed musical climate would be very difficult for Chicago to excel like they had the past 8 years. CHICAGO XI stands as the closing chapter on the band's first (and greatest) era.
Mississippi Delta City Blues
Baby, What A Big Surprise
Till The End of Time
Policeman
Take Me Back to Chicago
Vote For Me
Takin' It On Uptown
This Time
The Inner Struggles of a Man
Prelude (Little One)
Little One
http://rapidshare.com/files/26055398/Chic11.rar
Chicago XXII Stone of Sisyphus (Unreleased 1993)
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Stone Of Sisyphus is the title of an unreleased studio album by the pop-rock band Chicago, recorded in 1993 and to be released in 1994. Its original working title was Chicago 22, but Night & Day Big Band ultimately became the band's twenty-second official album.Warner Bros. Records, Chicago's record company at the time, was displeased with the album, and thus dismissed Sisyphus as being "unreleasable." This led to an acrimonious split with the band. The band's failure to issue an official press release regarding the album's mothballing and subsequent departure of guitarist Dawayne Bailey left fans to years of rampant debate and conjecture about the events surrounding Sisyphus. Through its official Web site, as well as public discussion forums of past and present band members, the band has actively worked to quell discussion and debate about Sisyphus, while sporadically releasing thematic albums (big band, Christmas, live in concert) that have sold poorly. Recent information has come to light regarding the actual reason for the album's shelving. Band management was negotiating with the label regarding a licensing of the extensive Chicago back catalog. When these talks stalled, the label apparently retaliated by scrapping the project.Read more (answers.com/topic/stone-of-sisyphus).
1. All The Years (4:26)
2. Stone Of Sisyphus (4:10)
3. Bigger Than Elvis (4:32)
4. Sleeping In The Middle Of The (4:45)
5. Mah Jong (4:24)
6. Let's Take A Lifetime (4:57)
7. The Pull (4:1
8. Here With Me (4:13)
9. Plaid V1 (4:5
10. Cry For The Lost V2 (5:01)
11. Get On This (4:31)
12. The Show Must Go On (5:22)
http://rapidshare.com/files/44895476/Chic22.part1.rar
http://rapidshare.com/files/44897590/Chic22.part2.rar
Chicago's First Christmas - Chicago XXV
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Uh, shouldn't that be Chicago XXV? Well, of course 25 refers not to where this title falls in the stalwart brass-pop band's ongoing oeuvre (besides, they dropped the Roman numerals they long favored way back around 1980's XIV) but to December 25, Christmas Day. While these Chi-town swingers have been putting out airy albums since 1969, this is their first holiday spree, and it's pretty much what one might expect. You get your Yule standards ("Little Drummer Boy," "Let It Snow," "Silent Night"). You get your collection of vocalists sharing the chores (Bill Champlin, Jason Sheff, Robert Lamm, Lee Loughname). You get your temperate jazz-rock arrangements (Chicago's brass section doesn't blow so much as puff). Doubters will find it frightful; for longtime devotees, it is delightful. --Steven Stolder
Little Drummer Boy
God Rest Ye Merry Gentlemen
Have Yourself A Merry Little Christmas
The Christmas Song
O Come All Ye Faithful
Child's Prayer
Feliz Navidad
Santa Claus Is Coming To Town
Christmas Time Is Here
Let It Snow
What Child Is This
White Christmas
Silent Night
One Little Candle
http://rapidshare.com/files/68683919/Chic25.rar
Password for all links: JaesAnAngel
Chicago Transit Authority (Chicago I)
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Having morphed--some would argue devolved--into a predictable ballad machine by the '80s, it's good to be reminded of Chicago's original artistic ethos and vibrant promise. And what better place to start than their spectacular 1969 debut? This digitally remastered edition compiles the double album on a single disc that retains the original LP artwork and features a 16-page booklet with a retrospective essay (based on new band member interviews) by David Wild. Chicago weren't yet the '70s hit-singles factory they would shortly become, and CTA showcases a band whose muscular musicianship and creative restlessness fostered two LPs worth of music that was as aggressive and far-ranging as its singles were friendly and inviting. Tellingly, the hits showcased here--"Does Anybody Know What Time It Is?" "Beginnings," "Questions 67 and 68," and their rhythmically pumped cover of the Spencer Davis Group's "I'm a Man"--were often edited down from the original collection's suite-heavy structure. But those familiar cuts belie the downright progressive and angular nature of much of the rest, which fuses Terry Kath's neo-psychedelic guitar (which careens to noisy, feedback-laden Hendrixesque extremes on "Free Form Guitar") to one of rock's pioneering horn sections with enough experimentalism ("Poem 58") that it frequently overwhelms their undeniable genius with a pop song. Chicago would seldom sound so adventurous after this, one of rock's greatest debut albums. --Jerry McCulley
1. Introduction
2. Does Anybody Really Know What Time It Is?
3. Beginnings
4. Questions 67 And 68
5. Listen
6. Poem 58
7. Free Form Guitar
8. South California Purples
9. I'm A Man
10. Prologue, (August 29, 1968)
11. Someday (August 29, 1968)
12. Liberation
http://rapidshare.com/files/31386391/Chic1.rar
Chicago II (1969)
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If there is one album that epitomizes Chicago's early rock-jazz synthesis along with their consummate, Top 40 instincts, this is it. Filled with memorable songs, impressive instrumental showcases, and great vocal performances, Chicago II displays the rock & brass ensemble at their early peak. Including classics like "Colour My World" and "25 or 6 to Four," this recording presents sparkling performances from three equally brilliant singers. The voices of Robert Lamm, Peter Cetera, and the late Terry Kath combined with particularly precise horn arrangements and exacting production by James William Guercio make this collection particularly noteworthy. Songs like "Make Me Smile" were swinging musical dramas with infectious singing and bold, melodic hooks. Recorded in 1969, II was musically progressive and exceptionally pop savvy. This is Chicago at their absolute best. --Mitch Myers
Movin' In
The Road
Poem for the People
I the Country
Wake Up Sunshine
Make Me Smile
So Much to Say, So Much to Give
Anxiety's Moment
West Virginia Fantasies
Colour My World
To Be Free
Now More Than Ever
Fancy Coours
25 or 6 to 4
Prelude
A.M. Mourning
P.M. Mourning
Memories of Love
1st Movement
2nd Movement
3rd Movement
4th Movement
where Do we Go From Here[/color]
http://rapidshare.com/files/25869078/Chic2.rar
Chicago III (1971)
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CHICAGO III was originally released in January 1971 as (appropriately) Chicago's third double album inside two years. The first two, THE CHICAGO TRANSIT AUTHORITY (April 1969) and CHICAGO (January 1970) were big smashes and blessed with (unintentional) hits - part of the reason they're still big favorites. CHICAGO III was created in the same album-oriented manner as the first two and, this time around, there wasn't a goldmine of singles to be found; no "25 Or 6 To 4" and no "Beginnings". And this is part of the reason CHICAGO III hasn't worn as well as its predecessors, but that is also part of its charm. Both "Free" and "Lowdown" were hits, albeit on a lesser scale. Another reason for the album's overlooked nature is perhaps the fact that it was another double album in a succession of three. Never mind - CHICAGO III is every bit as inventive and meaningful as the previous two albums and a concentrated listening will bear this out. The band's musical palette was far more versatile on this album utilizing funk ("Sing A Mean Tune Kid", "Free") and even the avant-garde ("Free Country", "Progress?"). There were, in addition, three suites to be found on the album, "Travel Suite", Terry Kath's "An Hour In The Shower" and James Pankow's "Elegy". Some of the passages in these extended pieces are brilliant and some of them drag a bit, which could also be a cause for the lower regard the third album. All in all, CHICAGO III is a great and very essential Chicago release. It may take a few listens to unlock its charms but it is a most rewarding album and stands as a great, if slightly flawed creation WITHOUT having any classic singles to boost it. This album originally peaked at # 2 in early 1971 and remained in Billboard for well over a year - a definite hit. This new Rhino-remastered edition is the best quality you can get; soundwise and packagewise. There is a (slightly short) essay to go with it and comments from various band members. CHICAGO III encapsulates a time when artistic freedom and experimation were greatly encouraged, while today it is largely shunned.
Sing a Mean Tune Kid
Loneliness Is Just A Word
What Else Can I Say
I Don't Want Yur Money
Flight 602
Motorboat to Mars
Free
Free Country
At The Sunrise
Happy 'Cause I'm Going Home
Mother
Lowdown
A Hard Risin' Mornin Without Breakfast
Off To Work
Fallin' Out
Dreamin' Home
Morning Blues Again
When All The Laughter Dies In Sorry
Canon
Once Upon A Time ....
Progress?
The Approaching Storm
Man Vs. Man: The End
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Chicago IV - At Carnegie Hall, Vol. 1-4 (1971)
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After issuing three consecutive studio double LPs, Chicago topped themselves with this four-album live box set. As the title suggests, At Carnegie Hall, Vols. 1-4 (Chicago IV) (1971) finds the band at the venerable New York City venue during a five-night stand (April 5-April 10) in the spring of 1971. The septet -- which includes the respective talents of Terry Kath (lead guitar/vocals), Robert Lamm (keyboards/vocals), Peter Cetera (bass/vocals), Danny Seraphine (drums), Lee Loughnane (trumpet/vocals), James Pankow (trombone), and Walter Parazaider (woodwinds/vocals) -- were at their unquestionable peak of initial popularity. Their previous three double LPs continued extended runs on the pop album chart and likewise spawned a number of hit singles. So by the time the group hit the Big Apple for these shows, they were among the hottest things happening.
Chicago's set list is wholly representative of the material from Chicago Transit Authority (1969), Chicago II (1970), and Chicago III (1971) and includes several extended multi-song medleys from each. The band winds its way through muscular versions of the epic "Ballet for a Girl in Buchannon," "Travel Suite," as well as lengthy renderings of deeper cuts such as "South California Purples," "Fancy Colours," and the ten-minute-plus opening "In the Country." One of the set's most notable highlights is the politically charged "For Richard and His Friends." The lengthy and well-jammed-out cut is both groovy and propulsive. However, the acoustics at Carnegie Hall are quite frankly not (and really never have been) properly suited for heavily amplified music. While the percussion and electric guitars are clearly audible, the woodwind and brass section come off sounding extremely thin and devoid of any real timbre. This is unfortunate, as a primary component of the band is the contrasting textures between the two.
Enthusiasts seeking a much more sonically accurate portrait should by whatever means necessary locate the Live in Japan 1972 two-CD set -- which also includes tracks from Chicago's fifth effort. [Rhino released a deluxe edition of At Carnegie Hall in 2005. The mini-box set contains a remastered version of the quadruple album spread out over three CDs, plus a disc of unreleased material from the concerts. Reproductions of the three posters included in the original set are included, along with a 36-page booklet that includes new liner notes, the original artwork, plus a list of all the concerts Chicago played between 1967 and 1971.] Review by Lindsay Planer (allmusic.com)
CD1
1. In the Country (10:35)
2. Fancy Colours (5:15)
3. Does Anybody Really Know What Time It Is? [Free Form Intro] (6:20)
4. Does Anybody Really Know What Time It Is? (3:26)
5. South California Purples (15:34)
6. Questions 67 and 68 (5:35)
7. Sing a Mean Tune Kid (12:53)
8. Beginnings (6:27)
CD2
1. It Better End Soon: 1st Movement (2:54)
2. It Better End Soon: 2nd Movement (Flute Solo) (5:00)
3. It Better End Soon: 3rd Movement (Guitar Solo) (2:42)
4. It Better End Soon: 4th Movement (3:09)
5. It Better End Soon: 5th Movement (2:07)
6. Introduction (7:09)
7. Mother (8:20)
8. Lowdown (3:5
9. Flight 602 (3:31)
10. Motorboat to Mars (2:59)
11. Free (5:15)
12. Where Do We Go from Here? (4:0
13. I Don't Want Your Money (5:22)
CD3
1. Happy 'Cause I'm Going Home (7:55)
2. Ballet for a Girl in Buchannon: Make Me Smile (3:31)
3. Ballet for a Girl in Buchannon: So Much to Say, So Much to Give (0:59)
4. Ballet for a Girl in Buchannon: Anxiety's Moment (1:0
5. Ballet for a Girl in Buchannon: West Virginia Fantasies (1:30)
6. Ballet for a Girl in Buchannon: Colour My World (3:26)
7. Ballet for a Girl in Buchannon: To Be Free (1:21)
8. Ballet for a Girl in Buchannon: Now More Than Ever (3:25)
9. A Song for Richard and His Friends (6:5
10. 25 or 6 to 4 (6:34)
11. I'm a Man (8:51)
Bonus CD4
1. Listen (4:16)
2. Introduction (6:36)
3. South California Purples (12:41)
4. Loneliness Is Just a Word (2:44)
5. Free Form Intro (Naseltones) (5:5
6. Sing a Mean Tune Kid (10:50)
7. An Hour in the Shower: A Hard Risin' Morning Without Breakfast/Off to Work (5:59)
8. 25 or 6 to 4 (6:20)
http://rapidshare.com/files/45295252/Chic4.part1.rar
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http://rapidshare.com/files/45317896/Chic4.part3.rar
http://rapidshare.com/files/46198032/Chic4.part4.rar
http://rapidshare.com/files/45292550/Chic4.part5.rar
Chicago V (1972)
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Though it may not have been clear at the time, Chicago's fifth album marked something of a turning point for the most successful American rock act of the 1970s. V was not only the band's first single-disc release, but, incredibly, its 11th LP worth of music in just three years. That Herculean workload may have watered down their previous studio album (III), but it also seemed to teach them a few important lessons as well. Here they manage not only one of their biggest hits (the joyous "Saturday in the Park"), but a stubborn, focused retrenchment of their most adventurous musical instincts in the bargain. That notion is clear from the intentionally ironic opening of "A Hit by Varese," through cuts like "While the City Sleeps," "State of the Union," and the autobiographical "Alma Mater," which bristle with the band's jazzy instincts and avant-garde influences. Even the album's other Top 30 hit, "Dialogue (Part I & II)," remains one of its more unusual chart entries. This digitally remastered new edition contains three bonus tracks (a Terry Kath noise-guitar-powered, previously unreleased studio take of "A Song for Richard and His Friends," the gritty outtake "Mississippi Delta City Blues," and the original single edit of "Dialogue") as well as Don Heckman's new liner notes, which feature insightful comments from several band members. --Jerry McCulley
A Hit By Varese
All Is Well
Now That You've Gone
Dialogue (Part One)
Dialogue (part Two)
While The City Sleeps
Saturday In the Park
State of the Union
Goodbye
Alma Mater
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Chicago VI (1973)
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This band continues to progress in terms of musical expansion. Once it was the first band in the shadow of Blood, Sweat and Tears, combining rock tempos with jazz solos. Now it has become more vocally oriented, offering a pastoral sound that leads into temporal solos. It's nice to hear the sound of the horns, of course, but they aren't overpowering. All instruments play with a controlled exuberance, but it is the strength of the ensemble singing that shines through. "In Terms Of Two" almost sounds like a Gilbert O'Sullivan inspirational effort, with a harmonica adding a new trill to the band's blowing abilities. Best cuts: "Feelin' Stronger Every Day," "Hollywood," "Just You 'N' Me."
- Billboard, 1973.
Critics' Choice
Just You 'N' Me
Darlin' Dear
Jenny
What's This World Coming To
Something In This City Changes People
Hollywood
In Terms of Two
Rediscovery
Feelin' Stronger Every Day
Download Link: http://rapidshare.com/files/25912166/Chic6.rar
Chicago VII (1974)
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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. [The 2002 CD reissue not only includes the brilliantly remastered contents of the original double LP set, but also a previously unissued rehearsal of "Byblos" as a supplementary side, as well as 12 pages of appropriate memorabilia, photos, and newly penned text.] ~ Lindsay Planer, All Music Guide
Prelude to Aire
Aire
Devil's Sweet
Italian From New York
Hanky Panky
Life Saver
Happy Man
(I've Been) Searchin' So Long
Mongonucleosis
Song of the Evergreens
Byblos
Wishing You Were Here
Call On Me
Women Don't Want to Love Me
Skinny Boy
Bybloss (Rehearsal)
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Chicago VIII (1975)
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While it's difficult to picture anyone failing to be amused by the intentional ludicrousness of, say, dedicating an album to the revolution or making the first addition to a lineup in eight years a conga player when nobody in the group can really sing, this superb satirical group's high jinks have traditionally gone over the head of your average rock buff. Even while critics have been acclaiming them indefatigably since their emergence, the masses have either vilified or simply ignored the Chi-guys.
The prophetically titled VIII, though, will almost certainly liberate this witty eightsome from theonerous status of "critics band" and endear them at least to an appreciable hunk of the mass audience, for the comedic intentions of this veritable laff-riot of an album will be instantly apparent to even the most imbecilic diehard.
The chuckles begin with the cover -- yet another variation on that cornball logo they've been schlepping around to knee-slapping effect since 1969 -- and turn into unabashed giggles with the discovery that, in addition to a free poster, one also gets a free iron-on patch with this record. How deliciously, ludicrously 1973! Leave it to Jimmy Guercio and his zany writers to neglect to mention in the ironing-on instructions that one musst first remove the garment to which he desires to affix the patch. This gritic giggled hysterically all the way to the emergency hospital with second-degree burns on his chest!
While no single cut is as hilarious as "Critics Choice," Bob Lamm's classic sendup of people who get upset by disapproving reviews on Chicago VI or VII or whichever, there are nonetheless giggles galore to be derived from the actual music here. Check out, for instance, "Anyway You Want," a wonderful parody of a group attempting to perform Jimmy Reed's "Tell Me What You Want Me to Do" without having first learned it. Or "Hideaway," whose music is a toungue-in-cheek pastiche of those dodo Doobie Brothers' "China Grove" and Free's "Fire and Water," with lyrics right out John Denver at his most mawkish. Or "Oh, Thank You Great Spirit," wherein that irrepressible cut-up Terry Kath -- he of the funniest Alvin Lee impression ever -- exorcises those problems that had been "hassling [his] head!"
Forget you found it difficult to get heavily into this group's finely honed satire in the past. Chicago VIII will make you laugh until actual tears race one another down your cheeks. This is one horn band whose time has come!
- John Mendelsohn, Rolling Stone, 6/19/75.
Anyway You Want
Brand New Love Affair - Part I & II
Never Been In Love Before
Hideaway
Till We Meet Again
Harry Truman
Oh, Thank You Great Spirit
Long Time No See
Ain't It Blue
Old Days
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Chicago IX (1975)
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First greatest hits package for this all star group, one of the first to mix the sounds of rock and horns. While often considered an album oriented band, the seven have had their share of hit singles over the years, as this set aptly demonstrates. Equally impressive, they have scored with several kinds of songs -- from jazz flavored to wild big band material to fun rockers to simpler tunes. The material has also covered a wide variety of subject matter. With the various musical feels and the fine combinations of lead and harmony vocals the group stands heads above most other "supergroups" musically speaking, and, in fact, rank as one of the few legitimate American super bands. Best cuts: "25 Or 6 To 4," "Does Anybody Really Know What Time It Is," "Saturday In The Park," "Feelin' Stronger Everyday," "Wishing You Were Here," "Beginnings."
- Billboard, 1975.
25 or 6 to 4
Does Anybody Really Know What Time It Is?
Colour My World
Just You 'N' Me
Saturday In The Park
Feelin' Stronger Every Day
Make Me Smile
Wising You Were Here
Call On Me
(I've Been) Searchin' So Long
Beginnings
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Chicago XI (1977)
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CHICAGO XI was issued in September 1977 and in hindsight has emerged as an era-closer. They dispensed with James William Guercio's production services (feeling he was dominating too much) and in January 1978, Terry Kath accidentally shot himself and died. Remarkably, his presence on CHICAGO XI is at its most intense since the third album in 1971, with him singing 4 out of the 11 songs. Peter Cetera wrote the only big hit on the album "Baby What A Big Surprise" and the album topped out at # 6 at home, a big hit, but clearly Chicago were beginning to lose ground on the charts by this time. Still there are many highlights here. "Mississippi Delta City Blues", an old Terry Kath number from the early days, gives the album a great beginning, full of his great playing and vocals as well as those trademark horns. Robert Lamm's sympathetic "Policeman" is a very affecting ballad, while "Take Me Back To Chicago" (which was NOT autobiographical, though it had personal relevance) proved that the band also had a talented songwriter in drummer Danny Seraphine. Lee Loughnane's "This Time" is also a mid-tempo pleaser, while the album ends on a poignant and high-spirited note with Danny's "Prelude (Little One)" and "Little One" itself, sung memorably by Terry Kath. You really feel the loss of Terry on these last two cuts - in fact, on the whole album. The band were devastated by his tragic passing, yet persevered and decided to carry on. Unfortunately, the widely-changed musical climate would be very difficult for Chicago to excel like they had the past 8 years. CHICAGO XI stands as the closing chapter on the band's first (and greatest) era.
Mississippi Delta City Blues
Baby, What A Big Surprise
Till The End of Time
Policeman
Take Me Back to Chicago
Vote For Me
Takin' It On Uptown
This Time
The Inner Struggles of a Man
Prelude (Little One)
Little One
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Chicago XXII Stone of Sisyphus (Unreleased 1993)
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Stone Of Sisyphus is the title of an unreleased studio album by the pop-rock band Chicago, recorded in 1993 and to be released in 1994. Its original working title was Chicago 22, but Night & Day Big Band ultimately became the band's twenty-second official album.Warner Bros. Records, Chicago's record company at the time, was displeased with the album, and thus dismissed Sisyphus as being "unreleasable." This led to an acrimonious split with the band. The band's failure to issue an official press release regarding the album's mothballing and subsequent departure of guitarist Dawayne Bailey left fans to years of rampant debate and conjecture about the events surrounding Sisyphus. Through its official Web site, as well as public discussion forums of past and present band members, the band has actively worked to quell discussion and debate about Sisyphus, while sporadically releasing thematic albums (big band, Christmas, live in concert) that have sold poorly. Recent information has come to light regarding the actual reason for the album's shelving. Band management was negotiating with the label regarding a licensing of the extensive Chicago back catalog. When these talks stalled, the label apparently retaliated by scrapping the project.Read more (answers.com/topic/stone-of-sisyphus).
1. All The Years (4:26)
2. Stone Of Sisyphus (4:10)
3. Bigger Than Elvis (4:32)
4. Sleeping In The Middle Of The (4:45)
5. Mah Jong (4:24)
6. Let's Take A Lifetime (4:57)
7. The Pull (4:1
8. Here With Me (4:13)
9. Plaid V1 (4:5
10. Cry For The Lost V2 (5:01)
11. Get On This (4:31)
12. The Show Must Go On (5:22)
http://rapidshare.com/files/44895476/Chic22.part1.rar
http://rapidshare.com/files/44897590/Chic22.part2.rar
Chicago's First Christmas - Chicago XXV
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Uh, shouldn't that be Chicago XXV? Well, of course 25 refers not to where this title falls in the stalwart brass-pop band's ongoing oeuvre (besides, they dropped the Roman numerals they long favored way back around 1980's XIV) but to December 25, Christmas Day. While these Chi-town swingers have been putting out airy albums since 1969, this is their first holiday spree, and it's pretty much what one might expect. You get your Yule standards ("Little Drummer Boy," "Let It Snow," "Silent Night"). You get your collection of vocalists sharing the chores (Bill Champlin, Jason Sheff, Robert Lamm, Lee Loughname). You get your temperate jazz-rock arrangements (Chicago's brass section doesn't blow so much as puff). Doubters will find it frightful; for longtime devotees, it is delightful. --Steven Stolder
Little Drummer Boy
God Rest Ye Merry Gentlemen
Have Yourself A Merry Little Christmas
The Christmas Song
O Come All Ye Faithful
Child's Prayer
Feliz Navidad
Santa Claus Is Coming To Town
Christmas Time Is Here
Let It Snow
What Child Is This
White Christmas
Silent Night
One Little Candle
http://rapidshare.com/files/68683919/Chic25.rar
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