“Already Gone” shows once again that ‘Chicago XXX’ isn’t a bad album. It’s a good album that was just ruined by poor production.

In retrospect, it’s not hard to see why this copycat-sounding self-titled debut is their only LP. ‘Gerard’ is perhaps the best Chicago album of the era.

“Come to Me, Do” is perhaps the best track Robert Lamm has contributed to Chicago since “Over and Over” on 1986’s ‘Chicago 18.’

‘Sirocco’ became Australian Crawl’s first No. 1 LP in their home country, but didn’t manage anywhere near that level of success on the ‘Billboard’ charts.

Illinois Speed Press arrived with some key Chicago-related connections. Their claim to fame, however, was setting the stage for Poco.

The completely unnecessary ‘Chicago XXVI’ was just a cash grab meant to lure fans into re-buying familiar songs. A flaccid bonus-track remake didn’t help.

Ironically named, Chicago’s Lenny Kravitz-produced “The Only One” is frustrating because it keeps you wanting and wishing for more.

Music is the sound of feelings whose names haven’t yet been invented. Similarly, the experience of vinyl isn’t something words do justice to.

The obscure bonus track “String of Pearls” was yet another line item on a long list of missed opportunities for Chicago.

In some ways, “Fearful Heart” feels transitional. But that makes it an embodiment of this Toto collection’s name – and purpose.