‘Chicago VI’ doesn’t get off to a great start, as “Critic’s Choice” becomes Robert Lamm’s first misfire.

With “State of the Union,” the train of great Robert Lamm songs just keeps on rolling through 1972’s ‘Chicago V.’

Robert Lamm’s “Saturday in the Park” became a signature hit. It also marked a huge turning point for Chicago.

Robert Lamm contributes a stand-out cut from the last album (except for parts of ‘VII’) where Chicago is truly an experimental band.

“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.