Robert Lamm contributes a stand-out cut from the last album (except for parts of ‘VII’) where Chicago is truly an experimental band.
Post Tagged with: "Robert Lamm"
“Dialogue (Part I)” and “(Part II)” further cemented my view that Robert Lamm was – and is – Chicago’s greatest writer.
You can’t help but smile after hearing Chicago’s “All Is Well.” And you can’t help but feel you’re listening to sheer perfection.
“A Hit By Varese” leads off Chicago’s fifth album, one many of my colleagues and I feel is flawless. It is, as they used to say, “all killer, no filler.”
‘Chicago at Carnegie Hall,’ a sprawling four-record set, was ripe for abuse from so-called leading critics of the time.
“Elegy” is not an easy listen, but it shows the range of styles that Chicago’s original lineup could pull off – and pull off very well.
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.
Why is Chicago’s “At the Sunrise” overlooked? Maybe because ‘Chicago III’ has so many great songs, and this one falls through the cracks?
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.