Customer Reviews

Chicago Xxvi: Live Album

5 star:		(17)
4 star:		(22)
3 star:		(10)
2 star:		(6)
1 star:		(6)

 

 

Chicago 26 finds the veteran band finally releasing a clean-sounding live album after more than 30 years in the music business. Sonically superior to "Carnegie Hall", "Live in Japan" and (horrors) "Live in Toronto 1969", this release is a fine addition to your Chicago collection. The horns shout, the vocals are convincing (especially Champlin & Lamm) and the band is TIGHT & rockin'!

Minor quibbles:

1. MAJOR studio doctoring is obvious (Bil, Jason and Robert can't sing harmonies to themselves)

2. WAY too many Peter Cetera via Jason Scheff lead vocals. Scheff is a much better bass player than Cetera, but is not in his league as a lead vocalist. The best singers in Chicago (in order): Bill Champlin, Robert Lamm, Lee Loughnane (!), Jason Scheff. Why do Bill ,Robert & Lee always get the shaft as far as leads are concerned?

3. The three new studio cuts are not all that great except for "Your Love is Lifting Me Higher." However, Champlin and/or Lamm should have done the lead vocal instead of Michael McDonald (even though I am a big MMD fan) on "Your Love".

4. With so much great music in their history, this should have been a double album. My sister was at one of the concerts taped for the live album. She said they also did "I'm a Man," "Free," "Questions 67 & 68," "Look Away," 'Let It Snow", "You're the Inspiration" (with a great new horn part!), "Show Me a Sign" and of course, "Does Anybody Really Know What Time It Is?" Where are these classics?

Oh well, it 's good to have Chicago rockin' again!

I grew up with this band and can recall when they sold out the Pine Knob Music Theatre every summer for five consecutive nights - 10,000 plus each night. With their original lineup, which included the late Terry Kath, Chicago was definitely one of the monster bands of the 70's. Unfortunately that was then, and this is now. This live compilation, while it sounds great (courtesy of various studio tricks and overdubs), lacks the intensity of the band's earlier days and hardly chronicles their 30-year play list of hits. While it was great to hear Ballet for a Girl In Buchanan in its entirety (Bill Champlin fills in admirably for Terry Kath on Make Me Smile), and Bobby Lamm never sounded so good on Beginnings, conspicuously missing are such stalwart favorites as Does Anybody Really Know What Time It Is?, Saturday In the Park, and Dialogue. What remains are nice renditions of songs from the band's early years: I've Been Searching So Long, Call On Me, Feeling Stronger Everyday, Just You 'N Me, and a rather watered down version of the ultimate party song, Mongonucleosis (a three and a half minute radio edit version that doesn't come close to measuring up to the version they did in the 70's, which included a lengthy percussion duet between Danny Seraphine and Laudir de Oliveira). Rounding out the set are Hard Habit to Break, Hard to Say I'm Sorry/Getaway and the classic rocker 25 or 6 to 4 (a song I've heard maybe 3 or 4 hundred times over the years and never seem to tire of). As indicated earlier, nice renditions, but they lack the edge of their early years when Chicago was hungry. The Carnegie Hall CD and the Live in Japan in 1972 CD both showcase Chicago at their best.

The last time I saw Chicago perform was maybe 10 years ago, and it seemed then that they were merely going through the motions. Admittedly, they've gone through several lineup changes over the years, but even Bobby Lamm admits, "This isn't Chicago". Still, one must wonder why they continue to embarrass themselves by releasing nothing more than greatest hits compilations every couple of years, along with a Christmas album, a big band CD, and a collection of tunes dedicated to the memory of Terry Kath. Their last CD containing all original music was released eight or 10 years ago and contained some good music, but again they seemed to rely on their old tried and true formula for ballads.

The critics have always loved to hate Chicago - the nameless, faceless band with the trademarked logo that first eschewed commercialism and later turned into a top 40 hit machine. Personally, their last good album was Chicago 17, but even it pales beside their best-ever effort: Chicago VII - which embodies everything this band proclaimed itself to be... diverse. Some of Chicago's best music were the tunes that never got any airplay because they pushed the limits of contemporary music, and that's something that's been missing from this band for years, along with heart.

I read years ago that Chicago very nearly packed it in after the death of Terry Kath, and that Doc Severinson was in part responsible for their perseverance. I'm glad they stayed together - they've recorded a lot of good music over the years. Still, one must wonder if the heart of Chicago died the night Terry Kath - a monster talent who even Jimi Hendrix idolized - accidentally shot himself with what he thought was an empty gun.

After listening to this cd, it sounded like it was showdown with Jason Scheff singing lead on Peter Cetera's old hits and making both Robert Lamm and Bill Champlin looking like special guest performers. Don't get me wrong I think Jason is great singer, but he's not Peter Cetera. It would've have been nice to hear Jason sing one of his original songs such as "Will You Still Love Me?" or "What Kind of Man Would I be?" I was upset that I didn't hear Robert Lamm's "Saturdaty in the Park", "Dialouge", or "Does Anybody Really Know What Time it is?" I keep thinking that Bill Champlin was sick because he hardly sang at all and that made me upset because he is my favorite singer in the band. I was upset that he couldn't perform songs such as "Look Away","You're Not Alone", or "I Don't Wanna Live Without Your Love". I think that the band did a good job on "The Ballet", and I really liked Bill Champlin on "Make Me Smile." I think Jason did a good job on "I've Been Searchin So Long." Jason's vioce sounded weak on "Hard Habit to Break", "Hard to Say I'm Sorry", and "Just You N Me." I think he was just trying too hard to sound like Peter Cetera. Robert Lamm sang the best version of "Beginnings" I ever heard, and Lee Loughnane's trumpet solo on "Mongonucleosis" was just excellent. What really surprised me was the guitar solo by Keith Howland on "25 or 6 to 4". I think that Chiacgo really has something going good with Keith Howland and I hope they keep him unlike thier last 3 lead guitarists. I think that the new songs such as "Back to You", and "If I should ever lose you" are nicely done. I think that Bill Champlin or Robert Lamm could have done a much better job than Michael McDonald on "Your Love Keeps Lifting me Higher and Higher." I wish that Chicago could have perfromed "You're the Inspiration", "Stay the Night" or "Along Comes a Woman". I think those are songs that Jason can sing really good. Overall I think the album was OK but it could have been done a LOT better, and I hope Chicago comes out with some new material, because I'm sick of buying compilations.

I've been reading some of the reviews posted here and there are people complaining about how "its not the same as the old Chicago". Well you know what they are right.Terry Kath and Peter Cetera are gone. What you do get is the sound of Chicago today. I am 43, so I know the old sound and loved it. If you liked this band and still like them some 30 years or so later as much as I do, you cannot go wrong with this CD. This is how the band sounds live today and I for one am very glad I bought it.

Whine-whine-whine! To me that's the sound Jason Scheff achieves while trying to match the range and performance of Peter Cetera. Jason may be almost able to match the range, but his voice ends up so thin and weak that it's painful to hear. It's sad enough that Chicago continues to denigrate their own music in their concerts, but to actually place such performances on video and cd! Why? Slap bass? Chicago and funk just don't match. Chicago music should be melodic. Chicago would have been much better off digging in the vaults for some vintage performances. Something worth remembering.

Yea it is mixed better than the original live albums but it lacks (as does thr current Chicago in person) the spontaneity and spirit that one feels with older Carnegie Hall album. I must confess, however, after seeing Chicago live in the 80's with electronic drums, too much bass, etc. it was nice to hear them do the older tunes with a proper mix so one can hear the horns.

With the dawning of the year 2000, we are within 11 months of a particular anniversary: It has been nearly a DECADE since Chicago gave us an album of all-original material (i.e., 21). Instead, they have given us their great takes on big band and Christmas standards (and I really like these CDs) but their original work has been lukewarm at best. First there was HOC1 with two moderately good songs, then HOC2 with a couple of better songs, and then, XXVI, a live greatest hits of Cetera songs with one great song (If I Should Ever Leave You), one medium song (Back to You) and a outright disgrace for a Chicago record (Higher and higher). Come on, Chicago, ante up, take a chance, and give us a brand-new CD. Forget the "We have hits in 5 difference decades" thing: the one 1990s song that made it (Here in My Heart) was a meager attempt to adhere to a formula you profess to hate. Plus, you never had hits in the 1960s anyway. Give us what the fans want: a new CD and not Peter Cetera karyoke(sp).

The title says it all. If you have been to any of their concerts in the past 6-8 years, you have heard these songs 6-8 times. It is time to change the set list. What I fear is Live, Vol. 2 + 2 new limp songs.

And what is with "Higher and Higher?" Is this an outtake from a McDonald CD? Chicago is the band with the name on the CD cover and yet they only sing back up. Whose bad decision was that?

"If I Should Ever Lose You" is a good song albeit written by Burt Bacharach. This band has talented writers and musicians. I hope that someday they will stop writing songs they *think/hope* will be a hit and write what they feel from inside. If the public does not want to hear a Chicago song and reject it, better to have written what you want than to pass off another bland song like "Back to You" to the listeners.

These guys are not hungry any more and I think they are scared. And it is a shame. These guys are some of the most talented musicians ever to record rock and roll.

If I had listened to some of the reviews of this CD I would not have bought it. This CD is great although it does lack in song selection. Why all the ballads? I would like to address the issue raised by those who said Jason Scheff can't compare to Peter Cetera. I agree. He surpasses the vocals that Cetera had. Sure both of them had similar styles, but I think Jason has had time to come into his own, especially with tunes that didn't spotlight Cetera. Just listen to the studio version of "Back to You." Bill Champlin of course is great. Face it you hard core Chicago fans, the lineup has changed but the trademark horns are still there and appreciate the Chicago for who they are now. This CD proves that this is life after Terry Kath. Buy this CD if you want to hear Chicago of today.

I had my apprehensions before buying this album. When I saw Chicago live in 1996, they were so bad that I walked out during the concert. Some songs (Feelin' Stronger Every day", "Call On Me", and "Searchin' So Long".) are better than the studio versions. Too many songs are drawn from certain albums, (i.e. II, and VII. Was the whole ballet really necessary? It's already on II and IV!) Lamm is good on "Beginnings", but that is the only song where he is used extensively. "Just You'N'Me" is pretty good, but Walt Parazaider takes too many liberties with his overbearing flute solo. Jason does a good job with the vocals, and I wish people would stop comparing him to Cetera. Tris Imboden does a respectable drumming job, doesn't attempt Dan Seraphine's cheesy percussion solo on "Beginnings." The new songs are nothing to sneeze at, even when compared to the Heart of Chicago's new songs.