Published on Mar 7, 2005
Memo to Jann Wenner: pull your head out of your ass and allow
Chicago in the Rock and Roll Hall of Fame.
There is no question that Chicago is one of the most underrated
groups in rock history. According to
Billboard charts, they are the second most successful band
in America rock history (though the statistics are up for debate).
Regardless of the exact numbers, Chicago has amassed over 20 Top
Ten hits, five number one albums, and to this point 13 of their
albums have hit the platinum level.
Despite all of this, Chicago has remained underappreciated. In
the ’60s and early ’70s, they were too “avant-garde.” From the late
’70s on to the present; they have been pegged as a “ballad band.”
The truth of the matter is that Chicago was a rarity; a band that
could shift among multiple styles to create their own unique brand
of rock and roll.
Chicago VII was the follow-up to the commercial success that
was the relatively lightweight effort
Chicago VI. However, the lack of critical acceptance, as
well as the soft nature of the material on
VI bugged the band, and they returned to the studio to
record an album that hearkened back to their earlier albums.
VII most definitely is a throwback to albums such as
Chicago II,
Chicago III, and
Chicago Transit Authority. For one, the LP is a double
album, coincidentally the last one the band would record. The long,
sometimes overblown instrumentals return, and practically every
band member has a writing credit to their name, furthering the idea
of the “Chicago Democracy.”
The musicianship of previous albums remains. The band shows off
their chops on the entire first side of the album, with
“Aire,””Devil’s Sweet” and “Italian From New York.” The problem is
that these tracks run a bit long, and lose their momentum as a
result. At times it seems the general idea was to bludgeon people
with the idea that this wasn’t a band solely capable of recording
tracks in the vein of “Saturday In The Park.” These aren’t poorly
made tracks; they just lack soul. The glaring exception is the
Latin-flavored “Mongonucleosis.” This track has become a live
favorite, and justly so. One gets a sense of the band just cutting
loose, and jamming all night long.
That said,
Chicago VII does indeed venture into pop territory, and this
is where the hits come in. “I’ve Been Searching So Long” and ”
Wishing You Were Here” are fabulous tracks, the former featuring a
lush orchestral sound, the latter highlighting Chicago’s harmonies,
with some brilliant help from The Beach Boys. The other hit off the
album, “Call On Me,” is one of those tracks that most people like,
but I have never been able to get into. Sure there’s a nice beat,
but the song borrows liberally from “Beginnings,” especially in the
closing minute. “Happy Man” is a short, succinct, but strong ballad
from Peter Cetera and was also a minor hit.
Terry Kath was the soul of the band, and his usually excellent
work does not drop off here. “Women Don’t Want To Love Me”
underscores how good Kath was at driving a song. His guitar licks
are echoed by the horns, and the rest of the band is more than
happy to play along. “Byblos” allows Kath to show off his acoustic
skills, which are quite impressive. Kath’s role in the band had
started to decline, but he would remain a team player until his
tragic death in 1977.
What prevents this album from being a great LP are the
extraneous instrumentals, and some plain old uninspired songs.
However, there are enough outstanding moments to make this one of
Chicago’s better efforts.