Chicago VII [Bonus Tracks] [Remaster]

Performer: Chicago
Artist: The Pointer Sisters
Engineer: Jeff Guercio; Wayne Tarnowski
Producer: James William Guercio
Distributor: WEA (Distributor)

Notes: Chicago: Robert Lamm (vocals, piano, Fender Rhodes piano, Clavinet, Mellotron, keyboards, ARP synthesizer); Peter Cetera (vocals, bass); Terry Kath (guitar, bass, background vocals); Walter Parazaider (flute, soprano saxophone, alto saxophone, tenor saxophone); Lee Loughnane (trumpet, flugelhorn); James Pankow (trombone, timbales, percussion, background vocals); Danny Seraphine (drums, percussion). Additional personnel includes: Laudir DeOliviera (congas, percussion); The Pointer Sisters (background vocals). Recorded at Sound Labs, Hollywood, California and Caribou Ranch, Nederland, Colorado between August & December 1973. Originally released on Columbia (32810). Includes liner notes by Phil Gallo. All tracks have been digitally remastered. Personnel: Terry Kath (vocals, guitar, electric guitar, bells, background vocals); Lee Loughnane (vocals, trumpet, flugelhorn, background vocals); Robert Lamm (vocals, piano, grand piano, Fender Rhodes piano, Clavinet, Mellotron, keyboards, ARP synthesizer, background vocals); Peter Cetera (vocals, background vocals); The Pointer Sisters (vocals); James William Guercio (guitar, acoustic guitar); Jimmie Haskell (strings); Walter Parazaider (flute, saxophone, soprano saxophone, tenor saxophone); James Pankow (trombone, percussion, background vocals); David "Hawk" Wolinski (piano, Fender Rhodes piano, Mellotron, ARP synthesizer); Wayne Tarnowski (piano); Daniel Seraphine (drums, hi-hat, percussion); Ross Salomone (drums); Guille Garcia, Laudir DeOliveira (congas, percussion); Dennis Wilson , Alan Jardine, Carl Wilson (background vocals). Audio Mixers: David Donnelly; Phil Ramone; Jeff Magid. Audio Remasterer: David Donnelly. Liner Note Author: Phil Gallo. Recording information: Caribou Ranch, Nederland, CO (08/06/1973-12/??/1973); Sound Labs, Hollywood, CA (08/06/1973-12/??/1973). Photographer: Urve Kuusik. Although commercially successful, Chicago's previous long-player, Chicago VI (1973), had not been received as warmly from both the critics as well as from some bandmembers. Both parties expressed their dissatisfaction with the lighter fare and significantly shorter material. In response, the combo briefly returned to their previously tried and true methodology on their follow-up album. As such, Chicago VII (1974) was not only a double LP, but much of the effort likewise returned them to their former jazz/rock glory while continuing the middle-of-the-road (MOR) ethos that was concurrently impacting the pop charts. Nowhere is this more evident than the trio of sides extracted as singles -- including the Top Ten hits "(I've Been) Searching So Long," "Call on Me," and "Wishing You Were Here." The latter of which features some stunning backing vocals from Beach Boys Dennis Wilson, Carl Wilson, and Alan Jardine. The group were continuing in their incorporation of additional musicians, most notably Laudir DeOliveira (percussion) and David J. Wolinski (ARP synthesizer) -- both of whom are prominently featured throughout the sides. The opening instrumentals, including "Prelude to Aire," "Aire," and "Devil's Sweet," reflect Daniel Seraphine's (drums) tremendously underrated skills as a writer as well as the combo's recently underutilized talents as ensemble musicians. All three tracks provide a brilliant showcase for the brass/woodwind section(s) to flex their respective muscles, drawing heavily upon the styles of Weather Report and to some extent Miles Davis and Santana. The nature of their seemingly experimental fusion is stretched out even further on "Italian From New York." The cut includes some interesting ARP interjections from Robert Lamm, whose decidedly free-form contributions weave alongside some rubbery and liquefied fretwork courtesy of Terry Kath (guitar/vocals). His lead bobs around Lamm's synthesizer and an equally prominent cool-toned Fender Rhodes keyboard bed. The second half of Chicago VII directly contrasts the less structured instrumentals with more inclusive sides such as the previously mentioned hits "Call On Me" and "Wishing You Were Here." Other highlights include Lamm's funky mid-tempo "Life Saver," Peter Cetera's (bass/vocals) laid-back and unencumbered "Happy Man," and a double shot from Kath in the form of two serene ballads, "Song of the Evergreens" and "Byblos" -- which features some stellar acoustic strumming. This collection would be Chicago's final two-disc set by the original lineup and offers the best of the band as improvisational instrumentalists as well as concise, emotive vocalists and song crafters. ~ Lindsay Planer Although commercially successful, Chicago's previous long-player, Chicago VI (1973), had not been received as warmly from both the critics as well as from some bandmembers. Both parties expressed their dissatisfaction with the lighter fare and significantly shorter material. In response, the combo briefly returned to their previously tried and true methodology on their follow-up album. As such, Chicago VII (1974) was not only a double LP, but much of the effort likewise returned them to their former jazz/rock glory while continuing the middle-of-the-road (MOR) ethos that was concurrently impacting the pop charts. Nowhere is this more evident than the trio of sides extracted as singles -- including the Top Ten hits "(I've Been) Searching So Long," "Call on Me," and "Wishing You Were Here." The latter of which features some stunning backing vocals from Beach Boys Dennis Wilson, Carl Wilson, and Alan Jardine. The group were continuing in their incorporation of additional musicians, most notably Laudir DeOliveira (percussion) and David J. Wolinski (ARP synthesizer) -- both of whom are prominently featured throughout the sides. The opening instrumentals, including "Prelude to Aire," "Aire," and "Devil's Sweet," reflect Daniel Seraphine's (drums) tremendously underrated skills as a writer as well as the combo's recently underutilized talents as ensemble musicians. All three tracks provide a brilliant showcase for the brass/woodwind section(s) to flex their respective muscles, drawing heavily upon the styles of Weather Report and to some extent Miles Davis and Santana. The nature of their seemingly experimental fusion is stretched out even further on "Italian From New York." The cut includes some interesting ARP interjections from Robert Lamm, whose decidedly free-form contributions weave alongside some rubbery and liquefied fretwork courtesy of Terry Kath (guitar/vocals). His lead bobs around Lamm's synthesizer and an equally prominent cool-toned Fender Rhodes keyboard bed. The second half of Chicago VII directly contrasts the less structured instrumentals with more inclusive sides such as the previously mentioned hits "Call On Me" and "Wishing You Were Here." Other highlights include Lamm's funky mid-tempo "Life Saver," Peter Cetera's (bass/vocals) laid-back and unencumbered "Happy Man," and a double shot from Kath in the form of two serene ballads, "Song of the Evergreens" and "Byblos" -- which features some stellar acoustic strumming. This collection would be Chicago's final two-disc set by the original lineup and offers the best of the band as improvisational instrumentalists as well as concise, emotive vocalists and song crafters. [The 2002 CD reissue not only includes the brilliantly remastered contents of the original double LP set, but also a previously unissued rehearsal of "Byblos" as a supplementary side, as well as 12 pages of appropriate memorabilia, photos, and newly penned text.] ~ Lindsay Planer

Chicago was the longest-running and most commercially successful of the hordes of jazz-rock bands with horn sections that sprang up in the late-1960s wake of Blood, Sweat & Tears. After myriad personnel changes (including the death of founding guitarist Terry Kath due to a self-inflicted gunshot wound), Chicago eventually mutated into a more conventional pop group that was able to score hit after hit well into the '80s, usually with romantic ballads. They remain among the best-selling American bands of all time. In the mid 1990s they briefly returned to their roots with an album of big band-era standards given the Chicago treatment.

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