Robert Lamm contributes a stand-out cut from the last album (except for parts of ‘VII’) where Chicago is truly an experimental band.
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“Let It Snow” closes with one of the famed Chicago horn section’s 10 best moments. When listening in my car, I always play it a second time.
A highlight from Chicago’s most jazz-oriented album to date, “Mother” is a perfect example of the era’s political activism and musical eclecticism.
The most unmelodic, atonal instrumental Chicago ever released, “Free Country” is not a piece I would ever play separately – but it works as part of the “Travel Suite.”
“Free” isn’t as well remembered as some of Chicago’s bigger classic hits of the era, but I have a great time every time I hear it.
Chicago guitarist Terry Kath’s solo on “25 or 6 to 4” has always been one of my most memorable musical moments. Here’s why.
With 1970’s “Fancy Colours,” Chicago proves once and for all how sophisticated rock music can be.
Those who prefer conventional fare might be put off by Chicago’s “Liberation.” Others looking for something more freewheeling may find a lot to like.
One of Chicago’s crowning achievements, “Beginnings” boasts a near-perfect arrangement only marred by a good but too-long coda.
“Does Anybody Really Know What Time It Is?” is one of the great triumphs of Chicago’s 1969 debut, ‘Chicago Transit Authority.’ Here’s why.