“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.”
Post Tagged with: "Robert Lamm"
‘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.
With ‘Flight 602,” Chicago’s Robert Lamm describes the boredom of waiting to go onstage, but this engaging song is anything but boring.
Robert Lamm’s sophisticated deep cut recalls a period when Chicago was one of the preeminent jazz-rock ensembles – not just a rock band with horns.
The only downside on Chicago’s “Sing a Mean Tune Kid” is its abrupt ending. But I guess I shouldn’t be too greedy.