This checks all of Chicago’s boxes, including prominent horns and alternating lead vocals. Where “90 Degrees and Freezing” fails is in the production.

Of the four songs released on Chicago’s two ’90s-era greatest-hits albums, “Show Me a Sign” is my third favorite.

On an album that I often overlook, this update of a Duke Ellington standard is one that I never do. “Sophisticated Lady” sounded like a ’90s Chicago song.

“The Pull” showed a lyrical depth that Chicago hadn’t been explored since the death of Terry Kath. Then it was shelved for 15 years.

Put simply, “Mah-Jong” wouldn’t have worked on anything Chicago put out between 1982’s ’16’ and 1991’s ‘Twenty 1.’ But it fits in perfectly here.

Production issues aside, “Only Time Can Heal the Wounded” is another solid contribution from Robert Lamm, the heart of Chicago.

Stumbling into Chicago’s Robert Lamm-sung “One From the Heart” was like finding a relic from an ancient civilization.

“Come in From the Night,” more than any other, is a fantastic example of the potential of Bill Champlin and Chicago.

The first time I heard the opening track from ‘Chicago 19,’ I was drawn in – and even listening today, “Heart in Pieces” still stands out to me.

“One More Day” is an appropriate ending for an album that likewise had some good, some bad, but overall represents a dated version of Chicago.