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59 of 60 people found the following review helpful:
5.0 out of 5 stars
Chicago at its very best, July 18, 2002
Along with Chicago Transit Authority, Chicago (the "official" name of this CD is Chicago, not Chicago II,) represents early Chicago at its very best, seven very good musicians playing a jazzy mix of horn-influenced rock and roll. In later years Chicago became known for producing popular "power ballads," but early Chicago, with Terry Kath's driving guitar, was very much a rock and roll band. On this CD, Chicago flexes its musical muscle in such suites as "Ballet for a Girl in Buchannon," which feature the hits "Make Me Smile," and "Colour My World," as well as "25 or 6 to 4." Another suite "It Better End Soon," is a protest movement and ends with the simple, but very effective "Where Do We Go From Here." "In the Country," features the great Terry Kath, one of rock and roll's most under-rated guitarist of all time. Every song is good, and the CD as a whole represents some remarkable work by a very talented group.
Rhino is in the process of remastering Chicago's catalogue, and on this issue, they have included two bonus tracks, the single versions of "Make Me Smile," and "25 or 6 to 4." They also did a very nice job with the packaging, adding a 16-page booklet with commentary by the band and some rare photos. Highly recommended.
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13 of 13 people found the following review helpful:
5.0 out of 5 stars
Colours my world, November 13, 2006
As a huge fan of Chicago's blistering acid jazz rock from 1969-1972 (Chicago Transit Authority through V), it is hard to select a favorite from this incredibly creative peak, although this 1970 album always seems to come up.
I think that all of the albums from this period had distinct personalities and this one seemed to me to be the most classically influenced. Of course, this was big band style jazz rock (with an emphasis on the rock), punctuated by Terry Kath's searing guitar work, and blasts from the horns, so using terms like classical to describe this music might be a bit of a stretch. However, some of the pieces have classical overtones - the intro to Poem for the People and the obvious choice Prelude/AM Mourning/PM Mourning, which is a classical piece through and through (that borders on modern classical at points). There is also the presence of very sophisticated and lengthy multi-movement suites (Ballet for a Girl in Buchanan; It Better End Soon). In fact, upon reading through the liner notes, it became clear to me that the guys were very interested in writing "serious" pieces that followed in the style of the famous classical composers - for example, Walter Pankow had been listening to Bach's Brandenburg Concertos, which inspired his beautiful piece Colour My World. Certainly, efforts like these were being undertaken in England by a number of rock groups, yet with much different results.
All of the guys in Chicago were incredible musicians and the ensemble work on the album Chicago (I am resisting the impulse to call this Chicago II, although that is what I used to think of it as) is just phenomenal. The guys knew how to really COMPOSE a proper piece of music. Counterpoint, melodies, harmonies, and the use of sophisticated meters are all used very well and make this album an extremely interesting listening experience. The guys were great vocalists too and they used the differences in the texture of their voices very well - for example, Terry sang the heavier pieces, while Peter sang the "sweeter", more melodic songs etc. The dynamic range is fairly broad too and ranges from the delicate acoustic textures of Prelude/AM Mourning/PM Mourning, through the spacey Hammond organ intro of Fancy Colours, to the blazing rock piece 25 or 6 to 4. Then there is the use of instrumentation: great horn arrangements, searing electric guitar, Peter's fantastic bass playing (he is criminally underrated); Danny Seraphines great drumming...whew, this is great stuff.
The remastering job by Rhino is fantastic and there are now a ton of liner notes and photos to go along with the original album art. Although I do miss my old vinyl version of Chicago...II, this remastered version is of very high quality and has fantastic sound quality.
All in all, this is an incredible album that contains music written by Chicago during their creative peak. Very highly recommended along with Chicago Transit Authority (1969); Chicago III (1971); the live Chicago IV (1971); and Chicago V (1972).
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12 of 12 people found the following review helpful:
5.0 out of 5 stars
Experimental and Beautiful; Progressive in its Day, April 25, 2003
After "Chicago Transit Authority" announced to the world the existence of this wonderful rock group, the question was whether the follow-up album would be as good as their debut. The follow-up is not as good, it is better.In some ways this album shows a dichotomy in musical styles. Portions of the album are constructed as progressive rock. Other portions are pop or rock and jazz combinations. Some are nearly classical. Some reviews of the album hint at this dichotomy by noting what the reviewers consider to be unlistenable portions of the album. It is interesting to note that depending on the style of music the reviewer prefers, the portions considered unlistenable by different reviewers may be exactly opposite from each other. The CD pulls together the two albums that originally made Chicago II. Additionally, the singles versions of "Make Me Smile" and "24 or 6 to 4" are added as bonus tracks. There are two groupings of tracks that make suites. Tracks 6 through 12 are part of "Ballet for a Girl in Buchannon", and tracks 19 through 23 make up "It Better End Soon". There are five additional tracks leading up to the first suite, and six tracks between the two suites. The five introductory tracks are blues-flavored rock. The fourth track, "In the Country", may remind some listeners of Three Dog Night. The other tracks in this group have the brass-flavored sound of "Chicago Transit Authority", but muted somewhat in comparison to the former album. The first suite is a concept album, or side from the days of vinyl. Out of this suite came two singles, "Make Me Smile", which peaked at #9, and "Colour My World", for which I do not have a peak chart position. There is a lot of instrumental music in this grouping of tracks, and you can almost imagine these relatively short songs actually being one extended track, in the manner of progressive rock. In the group of six songs between the two suites, several are noteworthy. "Fancy Colours" has a blues-jazz opening, but about a minute and a half into the song it transitions to a lighter, nearly pop sounding and faster song than the opening. The contrast is startling and makes you think the opening is a completely separate song from that after the transition. "25 or 6 to 4" was written by Robert Lamm when he was bleary-eyed and had stayed up too late. Knowing the origin of the song, the title nearly makes sense as you realize his brain wasn't working well when he tried to see what time it was. The next three instrumentals seem to form a mini-suite: "Prelude", "A.M. Mourning", and "P.M. Mourning". Given the style of the next song, "Memories of Love", you could possibly include that with the previous four selections. All four are mellow and heavily orchestral as opposed to rock. The second suite starts off with a faster rock beat. In the second movement a flute is prominent and though the bass and piano keep the beat moving, the instrumental has a strong jazz flavor. The third movement has a vocal part, with a strong blues flavor and a heavy beat. The fourth movement has a rock feel to it leading into the final song of the suite, "Where Do We Go from Here", which was released as a B-side single. This album is amazing. The musical styles include jazz, blues, neo-classical, and rock. The combinations are broad enough and unusual enough to allow this music to be classified in a variety of genres. However, I choose to consider this album progressive rock because of the extended length of the suites and the unusual combination of styles. When considering the other groups considered progressive from this era, King Crimson, The Moody Blues, and Yes, it seems less of a stretch to consider this album progressive rock. I have to address the one other issue brought up by some other reviewers regarding the sound of this CD. I was unaware that the masters had been destroyed at a fire. Regardless of what happened to the masters, this CD is an improvement over my vinyl album. I admit that perhaps in places the ranges, particularly the lower ranges, are not as well represented as they could or should have been. However, I would rather have this awesome work of art in its current form than not at all. Perhaps at some time in the future we will have the technology to take the recordings we do have and perform an even more advanced digital re-mastering. Until that time, I will enjoy this CD as it is. 5 stars for a phenomenally experimental and beautiful CD.
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