Customer Reviews

Chicago VII

5 star:		(19)
4 star:		(12)
3 star:		(1)
2 star:		(0)
1 star:		(1)

 

 

After the relatively downbeat pop of "Chicago VI," this album shows an energetic Chicago with a positive musical outlook. While the pop element is retained, there are also incredible jazz moments that can take you back to the first three Chicago albums.

The first five tracks are instrumentals, yielding more than 25 minutes of wonderful music that alternates between jazz, progressive jazz, jazz-rock, and other combinations that are easy to lose in the complexity of the music. The instruments include congas, horns, keyboards, including a mellotron, Fender Rhodes, ARP synthesizer, and clavinet, a flute, drums and guitars.

"Prelude to Aire" provides an initial indication of the flavor of the instrumentals with a strongly African influenced beat. If you liked Paul Simon's "Graceland," you should also like "Prelude to Aire." "Aire" is a jazz instrumental with but a flavor of the introductory song. Peter Cetera and Terry Kath both get to strut their stuff in the second half of the song, with Terry Kath turning funky for a portion of his lead.

"Aire" is complex and relatively long at almost six and a half minutes, but the following instrumental, "Devil's Sweet," is even longer. Portions of this ten minute composition are introspective, allowing jazz noodling of a core musical theme. Certain portions remind me of some of King Crimson's more experimental 70s work. The mixture of 50s retro style with Jazz and rock creates an interesting instrumental composition that requires multiple listens for full appreciation. "Italian from New York" fits well with the previous instrumentals. This instrumental begins with sound effects that are retro, yet modern. The sound effects are married to horns and later a funky guitar to create a fusion that is new and old, interesting and unique. The last instrumental composition, "Hanky Panky," sets up the transition from the instrumental mini-suite to the first song of the album. "Hanky Panky" is a celebration of music and jazz and declares its enthusiasm for the music that came before and the music that comes after.

The first song keeps a jazz theme for continuity with the opening instrumentals. The vocals have a Beatle's style when they open, and "Life Saver's" peppy beat sets the optimistic tone for the music of this CD. "Happy Man" is a mellow pop love song from Peter Cetera. The pace is slower than the earlier songs, and yet the song is a celebration, with upbeat percussion and vocals.

The next song was the first hit from this album. An edited version of "(I've Been) Searchin' So Long" was backed by "Byblos" in release. The single reached #9 on the Hot 100 and #8 on the Easy Listening charts. As was typical of Chicago's music at that time, the music was very carefully arranged and heavily orchestrated. This pop song is flavored by horns rather than being a true jazz fusion. This song also features strings to further expand the complexity of the music. The vocals are arranged with similar complexity and make this song one of Chicago's all-time greats.

I have no idea what "Mongonucleosis" is about. The lyrics are "Que pe chesa" repeated. The music is Hispanic-styled and fast. This music is easy on the ear and fun, maintaining the optimistic tone of the album. "Song of the Evergreens" is Terry Kath poetry. The lyrics are evocative and the complex music is rock. The repeated "snow" lyrics at the end of the song could be annoying, and yet they are not. Once again the music is catchy and tempts you to hum along. Near the end of the song the guitars break down into a funky sound characteristic of the mid-70s.

"Byblos" is a lyrically complex song. This song is a story song in the tradition of those sung by Harry Chapin and Gordon Lightfoot. We never learn her name, but we know she affects those around her with her presence, an inner beauty that makes you long for her presence once more, while feeling comfortable just because she is in the world. This song is yet another Terry Kath poem set to mellow and pretty music.

The next song has always been one of my all-time Chicago favorites. "Wishing You Were Here" was ethereal and haunting well before that type of song was popular in rock. Chicago's vocals are enhanced by the presence of the Dennis and Carl Wilson of the Beach Boys and Al Jardine. There is also an interesting synthesizer contribution to this song that helps provide an eerie aspect to the song's ethereal air. This song is one that must be heard to be appreciated. This song reached #11 on the Hot 100 chart and #1 on the Easy Listening chart, backed by "Life Saver."

The next song charted #6 on the Hot 100 chart and also went to #1 on the easy listening chart. "Call on Me," backed by "Prelude to Aire," is a jazz-influenced pop love song. The lyrics are simple with yet more catchy pop hooks. The song speeds up at the end to rush through the last 30 seconds, leading into "Women Don't Want to Love Me." This song has a funky blues rhythm and is a breakup song. Similarly, "Skinny Boy" also has a funky blues style. Both songs are by Robert Lamm.

This version of the CD includes a rehearsal of "Byblos," which pushes the total time for this CD to about 78 minutes, indicative of the original double vinyl album. This rehearsal is shorter than the released version, and contains some variation from the original.

From "Chicago Transit Authority" Chicago just seemed to get better and better. This CD shows pop influence, but there are just as many other influences, including jazz, blues and even Hispanic. This music is more than just great pop or rock; it is great music, period. If you are going to own music by Chicago, this CD is a must.

CHICAGO VII was originally released in March 1974, quickly hitting # 1 and eventually spawning three big hit singles. Initially it was planned as a jazz record (hence the first 5 instrumental - and highly enjoyable - tracks) but with commercial concerns, they soon included a fresh selection of conventional pop tunes. Of the hits, you'll find "I've Been Searchin' So Long", "Call On Me" and "Wishing You Were Here" (with three of The Beach Boys), however many of the highlights are the non-hits, such as "Happy Man" (which has lost its false start on the original album - the only negative thing about the re-issue), the jazz workouts "Aire" and "Devil's Sweet", "Song Of The Evergreens", "Byblos" (one of Terry Kath's finest moments) and Robert Lamm's "Skinny Boy" (with The Pointer Sisters on backups). This was Chicago's last studio double album and their last truly experimental album - recorded at a time when they could do no wrong. The ballads were starting to seep through more but thankfully, Chicago still were in a creatively ambitious mood. It is not a surprise that CHICAGO VII is a personal favorite of many fans. It's one of mine. The Rhino re-issue itself is another great one and has faithfully restored the original artwork. I just wish that "Happy Man" had been left in its original state, but that is a minor quibble in the face of a fine re-release. One of 1974's most satisfying albums.

I'm probably not alone is saying that the music of Chicago was my first exposure to jazz of any kind. At the time, I didn't know there were jazz elements in the band's music. I just knew that what I was hearing sounded different from all the other stuff I was listening to. And that it was very, very cool.

After buying this CD today and listening to it for the first time in probably 20 years, I was delighted to find it still fresh, alive, and exciting. And it's still cool.

The album opens with "Prelude to Aire," an outstanding combination of Walter Parazaider's wonderful flute playing mixed with some mesmerizing percussion from Danny Seraphine and (then) new member Laudir DeOliveira. The jazz-influenced instrumentals that follow, "Aire" and "Devil's Suite," are so compelling that you don't care that the boys aren't singing. In fact it's not until the sixth song that you hear vocals at all, but when you do, Robert Lamm's voice delivers with a satisfying impact.

The amazing thing about this release is that Chicago was already a well-established group that didn't need to do any experimentation with their music. This is less rock n roll than any of their previous releases and carries very progressive musical ideas. Three singles are included, which today still sound fresh and vibrant: "Wishing You Were Here," "Call On Me," and "I've Been Searchin' So Long." Pop, funk, Latin, and jazz are all represented on the disc and they're all done well. How many groups can do that today? How many would even ATTEMPT to diversify their sound? What a creative project! Give it a listen. You won't be sorry.

This is where the band peaked---at the height of their popularity, they stretched out and took chances and it worked. After their two great initial albums, the double album format had began to become a bit strained by Chicago III. Two great single disc sets followed, but nobody was really expecting the foray into jazz that they took on Chicago VII. Originally it was planned to be an entire jazz album. Instead it's a double album which transitions nicely from the jazz to the standard pop material.

The first side of the original LP disc one is all jazz instrumentals: "Prelude to Aire", "Aire" and "Devil's Sweet"--all as good as any jazz/rock fusion coming out during the era. There's a nice latin tinge to this stuff with percussion from Laudir DeOliveria, who would later become a full-fledged member of the band. A later interview with James Pankow revealed that Terry Kath insisted on adding a percussionist to the band because of his increasing frustration with Danny Seraphine's inconsistant tempos during their live performances. Whatever the reason, the latin percussion sends the music in a nice direction.

Side Two opens with the experimental "Italian From New York" and "Hanky Panky", a nice jazz ditty giving us some classic Chicago brass sounds and a great trombone solo from Pankow. When we first hear a voice on the record---1 minute and a half into "Life Saver" and some 27 minutes into the CD, we still don't get anything traditional---we get Robert Lamm sounding as if he's singing through a megaphone. But this is a good solid Lamm rocker and a nice transition to the rest of the album. Side two closes with Peter Cetera's "Happy Man". This is one of my favorite Cetera ballads, and was one of my favorites on the album back in 1974. We had no idea then that just ballads would become his tradmark in a few short years.

Side Three opens with (I've Been) Searchin' So Long. Heavy on orchestration, this nevertheless is one of Pankow's best ballads and one of their biggest hits. It seques into the Tijuana Brass-esque "Mongonucleois" a fun and enjoyable Pankow instrumental. Up next is the moody rocker "Song of the Evergreens" from Terry Kath. This features the first time someone other than Kath, Lamm or Cetera sang lead on a Chicago song---here it's Lee Loughnane singing. Strangely enough, he sounds like a weak Terry Kath. His vocal is nice enough, but it seems pointless that Kath didn't sing it himself. Next is "Byblos", another atmospheric ballad from Kath that is one of the best things he ever wrote. Other than Kath and Seraphine, no one else from the band appears on this track.

Side Four gives us Cetera's "Wishing You Were Here". Written at the last minute as a vehicle for the Beach Boys to sing on, this became one of their biggest hits. One question I've always had is--who sings the verse on this song? The credits list Cetera as the only lead singer, but unless this is a low register of his we've never heard, it doesn't really sound like him. I've seen some sources list Terry Kath as the singer, but it doesn't sound that much like him either.

Next is Lee Loughnane's "Call On Me". His first songwriting attempt would prove to be his best. Another huge hit for the band. Next we hear the band try to get a bit funky with Lamm's "Women Don't Want To Love Me", with a lot of clavinet and funky wah-wah guitar. The album closes the soulful "Skinny Boy" featuring the Pointer Sisters on background vocals. The long slow fade is an appropriate way to end this classic album. There's a lot of diversity on this set and it all comes together in a way that only a band as 'hot' as Chicago was in 1974 could pull off.

The CD includes an earlier, must faster version of "Byblos" as a bonus track that is a nice way of showing how songs change during the writing and recording process.

With the release of their seventh record, Chicago quashed the opinions of their critics who, after the release of "VI" snubbed the band for going "pop". Along with "Chicago Transit Authority" and "Chicago II", "Chicago VII" is considerd by many (and this reviewer especially) to be a document of the legendary group at their finest.
This disc originally produced three hit singles while finding the band playing, for the first time, through some true jazz compositions. Chicago had been known for infusing some jazz style into their rock/pop sound in the past, but this was really their first stab at tackling real jazz instrumentals.
"Chicago VII" opens with "Prelude to Aire" and "Aire" with interesting rhythmic percussion creating a backdrop for Walt Parazaider's flute and the horn section to blow loose and free. Terry Kath shows off a new side of his style with more of a warmer tone during an extended solo section. As an ensemble Chicago has never displayed more musical skill than on "Devil's Sweet". Written by drummer Danny Seraphine, the horns play lightly over some intriguing brushwork technique Danny apparently wanted to show off. He then propels the band into a double time section and every individual musician just cooks. Peter Cetera's basswork and Terry Kath's rhythm guitar parts are just electrifying and Danny Seraphine is simply outrageous.
These compositions alone make "Chicago VII" a MUST for anyone interested in this great band.
The rest of the songs on the disc are all strong and display a true diversity of styles. From the funky "Woman Don't Want To Love Me" and "Skinny Boy" to the warm ballad textures of the classic "Happy Man", there is no low point on this disc.
Then there are the singles, which stand out as some of Chicago's finest work: the crisp and energetic "Call On Me" (terrific horn chart by trumpeter Lee Loughnane who wrote the tune); the moody and lush "Searchin' So Long"; and "Wishing You Were Here", arguably Peter Cetera's finest song he ever wrote with or without Chicago, with the Beach Boys brought in to create some wonderful vocal textures. Just terrific.
Overall, "Chicago VII" is just that: terrific.
Essential Chicago, not to be overlooked.

How could it happen that Chicago became a pop-hits machine after Chicago VII? After listening the remastered version of this fantastic album I just say that this was the last excellent music they did.

The songs "Aire, prelude and Devil's sweet" songs are performed in what I consider the peak in the chicago musical career.

"Byblos" is one of the most introspected songs of Tery Kath and I have to say that the new version included in the bonus tracks is better than the original one. It's more vivid.

One of my favorite life time chicago songs is "Call on me" maybe because I'm a latin from Mexico City.

As Danny Seraphine (the excellent original drummer) has stated, after Chicago VII, they lost a legion of loyal fans that hated the ballads.

If you are a new musical searcher of excellent bands from the 70's, this band and this New remastered version of Chicago VII must be in your catalogue. An incredible band always rejected by the critics. Just listen.

This is Chicago's best album, quite simply. The pop is hip and the jazz is real. I just came back to it after many years away and found it as enjoyable as ever. We all know that most music does not demonstrate such resiliency. This recording can be put on a level with Chicago II and V, which is also saying a lot. As always, a love of a phenomenal horn section is key to the full enjoyment of this band, and this selection does not disappoint. But Robert Lamm's keyboards and Terry Kath's brilliant guitar (I still miss him) are amply featured to full effect. Sadly, they never again sounded so good.

When I heard that Rhino was re-releasing all of Chicago's albums on CD, I made it a point to find out when this one would be available. This was the album that reaffirmed me as a fan of Chicago when it was released in 1974. I was happy then to see that they had returned to their more album-oriented, jazzy roots (however temporarily). I'm surprised at how well this album has held up over the years; these guys were (and are) fantastic musicians, composers and songwriters. This re-release has been mastered beautifully, sounding as I remember the original vinyl did. The bonus selection, a rehearsal of Terry Kath's "Byblos", has a warmth and intimacy about it that is so touching, I had to listen to it a second time. His untimely death in 1978 was a terrible loss. This album is a "must-have" for all Chicago fans!

I'm a relatively new fan of Chicago, and since buying their box set this past summer, I've now been buying some of their remastered full albums. The DVD in that box set includes a live performance of "Devil's Sweet" from Chicago VII, which I was really impressed by. So I picked up this CD.

The first half of this CD really blew me away. All instrumental jazz! These were similar to those long jams on the first couple of albums, which I like a lot. But definitely more jazz here. What's most incredible is all 7 of these guys contribute equally to the sound. You can hear everybody, and everybody even gets a chance in the spotlight without stepping on the rest. All but one member individually wrote at least one track (and even that one member, saxophone/flautist Walter Parazaider, still co-wrote some songs). Not all pop fans are going to like these long instrumentals (they even admit in the liner notes that such jamming is more self-indulgent), but speaking as a musician I think it's easily some of their best work.

Even if you're not so much into the instrumentals, there's still a lot of great music left on this CD, which was originally released as Chicago's last original double album. The second half gets more into the songs you've probably heard as singles. These were generously represented on the box set too. The songs, "Happy Man", "Call on Me", "Wishing You Were Here" etc. are also great. And they flow well with the rest of the album; they don't sound like singles put on there for making money.

Chicago VII has beautiful free-form material that you just didn't hear in the 80s from Chicago. I don't accuse them of "selling out"; they're just one of countless victims of the 80s corporate music take over. But Chicago VII is a shining example of what a truly talented band is capable of, when they're given full artistic control.

Simply put, this was the album that made me into a jazz trombone player. Chicago VII was the last moment in time when this prolific band got together in Colorado and decided to really stretch and redefine its music. Chicago VII defies categorization because it is jazzy, samba, rock and pop all at once. And nobody should feel the need to make apologies for the pop tracks on this great double album...that was part of the landscape in those days, especially when the band was trying to show their range and musicianship. The double album would have been worth the purchase price just for "Byblos" alone. What a great song by Terry Kath that still haunts me to this day. I still think that Byblos is the most under rated Chicago song of all time, and I've often wondered why it wasn't released as a single as well? Can you imagine what an impact this song would have had during the mid-70s on the music scene had it been heard by a larger audience?

Chicago was never same after Kath's death later in the decade, but in reality, it was never the same after Chicago VII. This album is just as vibrant today as it was on its original release date. The band has become unfairly become known as a sappy ballad band, but those who really know Chicago's work know that "Chicago Transit Authority", "Chicago II" and "Chicago VII" leave a legacy of greatness for this group that can't be washed away by later disasters. This is a must have CD.