Customer Reviews

Stone of Sisyphus (XXXII)

5 star:		(51)
4 star:		(19)
3 star:		(15)
2 star:		(6)
1 star:		(6)

 

 

Well, by now, if you're a Chicago fan, you've read up on the back-story, so I'll save you the history lesson here and get to my thoughts on the music.

In short: this stuff lives up to the hype.

A few provisos. First, if you think Chicago died when Terry Kath shot himself, STONE OF SISYPHUS is not for you. Second, if you think Chicago died when Peter Cetera quit, STONE OF SISYPHUS is not for you. Third, if you don't like Jason Scheff and/or Bill Champlin, STONE OF SISYPHUS is not for you--they're all over this album. Finally, if the exclusion of "Get On This" (a great track, by the way) works you into a fit, this version of STONE OF SISYPHUS is not for you.

If you're like me, though, and can accept those things--and if you've always preferred "Listen" to "You're the Inspiration," or "Sonny Think Twice" to "Hard to Say I'm Sorry"--then this is the Chicago album you've been waiting for.

The band brings its A-Game here. Want some upbeat nostalgia? Check out "All the Years." Want straight-ahead rockers? Check out "The Pull" and the title track. Feeling funky? Cue up "Mah Jong," or rap along with the fellas on "Sleeping In the Middle of the Bed." Yeah, there's a ballad or three, but good ones: "Bigger Than Elvis," "Let's Take A Lifetime," and the very catchy "Here With Me (A Candle For the Dark)." And then, there are a few songs that just defy description. My own personal favorite--and (imo) one of the best songs Chicago has ever done--is "Plaid." EVERYTHING that's good about Chicago is in evidence here, from the dense rhythms to the wailing brass, from the meaningful lyrics to the vocal harmonies. And Bill Champlin just sings the spots off of it.

There are, of course, other cool tunes--"Cry For the Lost" and "The Show Must Go On" are both really good--and the production by Peter Wolf is spot-on. Kudos must go to then-guitarist Dawayne Bailey for his significant contributions, but everyone--especially Robert Lamm, Champlin, Scheff, and James Pankow--really steps up.

Kudos, too, to Rhino for the packaging. The liner notes are detailed and informative (though I'd like to see a few Bailey quotes), and the cover design is stellar. The bonus tracks are interesting. While "Love Is Forever" doesn't really catch my attention (but that's just me), the demo of "Mah Jong" is a funky delight, every bit as good as the album cut in its own way--and that's saying something. The alternate take of "Stone of Sisyphus" is interesting, too; without the extra reverb, the horns sound much cleaner.

Hey, since the late 70's, I've heard Chicago fans asking, "When are they going to cut loose again?" When I first (admittedly) obtained my bootleg copy of STONE in 2000, I would say, "They TRIED in 1993." Now I can say, "They HAVE. Check out THIS CD."

Now THIS is more like it. THIS is the Chicago band that I like! However, let me say right at the top of my review that I do not claim to be a top authority on Chicago. I am merely a casual fan of the group. I believe that Chicago were a great band *up to a point*, say, up through the end of the 70's. Those early Chicago albums are indeed phenomenal, their early music is intelligent, daring, and truly sophisticated (and Terry Kath, brother, you are greatly missed). But then along came the 80's, and this once mighty jazz/rock band, sadly, devolved into doing syrupy power ballads and nothing but (and it may be easy to point the finger at Peter Cetera for this, but I don't think he was entirely to blame). However, like many other fans of the group, I had long heard about their unreleased 1993 album, "Stone Of Sisyphus," and all the inside buzz about how this was the best album Chicago had done in years, and how it was a crime that this amazing album was still being held prisoner in the vaults. Well, a big 15 years after Chicago recorded it, on June 17, 2008, "Stone Of Sisyphus" was finally set free into the world (albeit missing one song, "Get On This," presumably for some legal reason or other). So, how is it? My verdict: while "Sisyphus" is not the band's masterpiece---after all, it isn't a *complete* throwback to their jazz/rock glory days---one thing is perfectly clear: "Stone Of Sisyphus" is the first Chicago album that I have liked in a long, LONG time. The stories about this album are true: Chicago really were trying very, very hard with "Sisyphus" to break away from all those goopy love songs and make a daring, intelligent, sophisticated album just like they used to make 'em, only this time with a 90's polish. And overall, the band greatly succeeded. These songs are smart, catchy, and expertly played and sung with great feeling and power, and with *none* of the schlock-poppy, manufactured "Look Away"-type songs of later years. Clever lyrics, too! And Warner Bros. Records actually didn't like this album? What idiots. I love the up-tempo numbers like the memorable grooves of the title track, the funky "Mah-Jong" and "Sleeping In The Middle Of The Bed," "The Pull" and "Plaid," and the softer tunes like "Bigger Than Elvis" and "Let's Take A Lifetime" are pretty without ever being cloying. Now, if only Chicago can make more albums like "Sisyphus"....who knows if they ever will? But, for this one album at least, they remembered the *quality* of the music that made them a great band in the first place. I'm thrilled that Chicago fans can finally get their hands on "Stone Of Sisyphus." It truly is one of Chicago's greatest acheivements. Buy it right now, recommend it to all your friends, and get the word out that "Stone Of Sisyphus," Chicago's lost gem-of-an-album, has finally been found at last. And a hearty congratulations to Chicago themselves for making it.

It's easy to see why Warner Bros. Records pulled Stone of Sisyphus 15 years ago: the same reason that made Chicago a super group in the 1970s -- creativity. Like many, I'd heard the praise from owners of bootlegged discs that circulated, had heard the title track on the Canadian Overtime CD and slightly different versions of Sleeping in the Middle of the Bed and All the Years on Robert Lamm's solo discs, so I was pleased to learn that Rhino was releasing this now near legendary disc, all the original tunes save one.

This disc is a throwback to Chicago's early years, sans Terry Kath's influence, when they wrote and recorded uncensored by record executives. As on many of Chicago's early releases, the best tunes on SoS are those that break the rules of contemporary music, push the envelope, don't adhere to the formula that the suits require. Prior to SoS, Chicago had fallen into a rut of writing a string of top 40 hits that received plenty of airplay on adult contemporary radio stations but left the band creatively flat.

From the title track, a driving rocker with a nearly frantic rhythm section, to the funked up version of Mah-Jong, All the Years (reminiscent of some of the ever-social conscious Robert Lamm's best penned tunes) and Sleeping in the Middle of the Bed, a heavy hip-hop tune with that unmistakable Chicago influence (if not the best tune on the disc certainly the most creative), this disc definitely deserved to be heard and Kudos to Rhino Records for making it happen.

In addition to several bonus tracks of alternate takes, other notable cuts include The Pull, Here With Me (a Candle for the Dark), Cry for the Lost, Plaid and The Show Must Go On (the latter two with a distinct anti-corporate theme) -- all unmistakably Chicago but lacking the formula responsible for the sad state of today's music industry.

The horn charts are spectacular, forging ahead with hot, creative riffs that recall the sound that propelled this band to one of the best-selling bands of all time.

Guest artists include The Jordinaires and Jerry Scheff on Bigger than Elvis, Jason Scheff's tribute to his father, who once played for Elvis, and producer Peter Wolf.

Also included with the disc are copious liner notes with comments from band members.

Highly recommended.

14 years ago I had the fortune to have a few good deeds repayed with mysterious taped copies of unreleased music by the band CHICAGO appearing in my mailbox from various sources. Some of the quality of the recordings were suspect, but as a Chi junkie I wore the tapes down listening again and again and again. Some of the music was available in different forms elsewhere, like ALL THE YEARS on Robert Lamm's solo effort "Life is Good", THE SHOW MUST GO ON on The Fixx's INK album (with different lyrics and named FALLING IN LOVE), CRY FOR THE LOST on Champlin's "Through It All" which was titled PROUD OF OUR BLINDNESS.
Later, other songs emerged: MAH JONG on Jason Scheff's "Chauncy" and SLEEPING IN THE MIDDLE OF THE BED AGAIN on another Lamm solo CD. A few official recordings became available on varied domestic and import compilations as well. The internet buzz about the album in the 90s was always there as CHICAGO pursued their Big Band and Christmas projects as well as recording a few new songs included in compilations of old material. After a time, The buzz muted to a low hum... white noise in the background of a band whose identity was never in question, but searching for its niche in an industry it once dominated. But the life of the project never went away.

I just got the official version of "The Stone of Sisyphus" and must say that it was worth every penny, in spite of already being gifted the music years ago. No longer will I have to dig out the tapes (except to hear the rocker GET ON THIS which was left off the official release for some reason) nor will I have to wonder when this project would see the light of day. All I have left is to wonder what success the album would have had back then had the record industry embraced the project.

What we now have is a collection of music that sounds just as relevant today as it was then. The anti-establishment themes are still valid because the problems in our society still exist despite the Year 2000 regime change. The personal relationship/life themes are timeless and dig deeper than many of the more pop friendly hits the band offered in the 80s.

HIGHLIGHTS:

Dawayne Bailey's STONE OF SISYPHUS is a fiery rocker with CHICAGO's thematic element of working hard yet always having setbacks which cause one to start over from the bottom.

Jason's BIGGER THAN ELVIS is a huge son-to-father love song which uses every tool possible to say those three words men aren't supposed to say to each other without actually saying it. The Jordainaires and Jason's dad Jerry guest.

ALL THE YEARS includes 60s political samples including the "Whole World's Watching" chant which was also sampled in the original Chicago Transit Authority album. It's a great groove and has a great bitter edge to it.

MAH JONG is probably the most timeless musical piece. It's just a great sounding track that tells a good story.

SLEEPING IN THE MIDDLE OF THE BED - what can you say about the band that's done every musical style tackling a little rap but with more intellectual lyrical content than 99% of the music in that genre?

LET'S TAKE A LIFETIME - a song that tells a message contrary to what most of society tells us to do - but in a beautiful love ballad.

THE PULL - I love the bridge. Great lyrical content throughout. Excellent Rock music by the band who had to leave rock behind for awhile.

HERE WITH ME - An amazing failed-relationship song. Look for the brass interlude.

PLAID - Anyone who has been unhappy in their job situation without actually hating their job can probably relate... unique looped intro and amazing Champlin vocals (I know - redundant). Love the lyrics "Ride this train til we run clean out of track" and "Hundred pounds of monkey on my back"

CRY FOR THE LOST - love the transitions between the sections of the song... strange hook but that's what gets me on this one.

THE SHOW MUST GO ON - the last song of the original album has a fitting title. Look for great horn work and the circus style music which hearkens to BS&T's SPINNING WHEEL as well as Scheff's ringmaster call.

I think the album is a good purchase for anyone who has been a fan of any version of the band. A good analogy would be that it's their "White Album" Hopefully good sales will show the industry that it was wrong and that great music simply goes on.

When the seven guys formed the band that became Chicago, they had a mandate: create a sound that was a rock band with horns. And they did. Brilliantly. Chicago walked the tightrope between longer pieces and radio-friendly shorter songs. As the hits kept piling up, so, too, did the pressure from the record labels to write singles. When they had their first #1 hit, wouldn't you know it was a ballad. From then on, for better or worse, Chicago became a ballad band. Sure, the fans knew the truth, but the casual radio audience (and the record executives) knew only one thing.

This kind of pressure had side effects. Outside writers were brought in to write a "Chicago ballad." The horns became less of the fourth vocal component of the band's sound and was relegated to the background. The composition of the band changed, whether through death or departure. Through it all, Chicago adapted. They made disco records that sounded pretty good. They incorporated the 1980s synth sound. And, as good as those 1980s records were, some folks got the impression that their heart was not in it.

Until 1993. After Twenty-1 (1991), Chicago had had enough. They wanted to make a record that *they* wanted to make. And they found a producer, Peter Wolf, who shared their vision. Walt Parazaider recalled that Wolf told him to bring all his woodwinds: all his saxes, flutes, clarinets. In that interview, Walt's grin was huge. What was also huge was the enthusiasm within the band. You don't believe me? Just listen.

The album that emerged was to be Chicago 22. It had heart and it had soul. And it had a lot of things unexpected. The song "Stone of Sisyphus" kicks the socks off a lot of the material from the 1980s. Sappy love songs have fake emotions but I dare anyone to listen to the song "Bigger Than Elvis" and not get a lump in their throat. You see, Jason Scheff's dad, Jerry, was the bass player for Elvis. The song is about a young Jason watching TV, seeing his dad, and thinking it was his show.

Rock songs: check. Emotional ballads: check. How about funk? Check, with "Mah-Jong" given voice by the blue-eyed soul crooner Bill Champlin. How about rap? That's right, rap with "Sleeping in the Middle of the Bet Again." Granted, it ain't Eminem but it doesn't sound wrong. It sounds good to say nothing about the lyrics.

Lyrics. Remember back in the day when Chicago wrote songs wishing Richard Nixon would quit, the plight of pollution, the burden of war, or the general dilapidated state of America? Well, that's okay. No one else does, either. They stopped recording those kinds of songs by the mid 70s. Not on SOS. Those kinds of songs came roaring back, with "Cry for the Lost" and "All the Years." The latter song has a bit of Chicago's own history throughout the lyrics and, in a bridge section late in the song, a direct link back to their first record.

So happy were the guys of Chicago to be making a record they liked that they even penned a song lambasting the modern recording industry. "Plaid" told it like it was for all of us who didn't know. It was like a shot across the bow that culminated with the iPod and downloadable music. Remember when I wrote that Walt was asked to bring in all his woodwind instruments? You got bass clarinet on this tune. Bass clarinet in a rock song! Can someone say Miles Davis and "[...] Brew"?

When it was all said and done, all recorded and put on tape, the album that was to have been Chicago 22 had it all. They loved it, they were proud of it. They even decided to name the album "Stone of Sisyphus" instead of Chicago 22. It was to have been something different, something special. They were ready to redefine themselves as a rock band.

Give you one guess what the suits thought. Upon listening to this CD, the suits knocked Chicago to its knees. The suits shelved the CD because "it didn't sound like Chicago." I bet these were the suits who thought 16 was Chicago's first album. When the suits locked the demo tapes in a vault, never to be heard by anyone, some of Chicago's heart and soul stayed in that vault. The band's reaction was where we are now. In effect, Chicago ceased to be a *rock* band with horns.

The bootlegs began filtering out in the mid 1990s. I'll admit that I acquired one. And I took tremendous joy in playing certain cuts of the album and asking people to guess who was singing. They rarely guessed right. You see, SOS is a unique album. It was an album by eight guys plus their producer making music that they liked. Not the suits. Not even their more recent fans. This was an album that lived and breathed freedom, the freedom they used to have back in the early days.

I still consider Chicago's first two records to be their best. I put SOS at #3. It's that good. And, with it being a bootleg, I could rarely share it with anyone other than to play songs in the car or at home. I never ever thought I'd get a chance to go to Target and buy an official copy of this monumental album.

Next week I can. And I will. And I hope you do, too. Let's show all those suits that they made a mistake back in 1993. Chicago 22 was the return of the Rock Band With Horns mentality. Chicago 22 may not have burned up the charts but the music was real. It was honest. It had heart. It had soul.

Isn't that what we want from our music anyway?

Chicago has always ben an enigma. A band with a multitude of musical talent--and disappointment to boot.
They have been dogged by the initial splash and huge success which left the bar ridiculously high for them. Of course the trappings of that success and the tragedy and departures have left this genre-bending band in a state of chaos (non linear change, to be exact).

For years, they got caught up in the corporate greed, hypocrisy and sheer cruelty of the music business. They were forced to become what they were never meant to be: a hit machine and purveyors of simple entertainment.

In 1993, some fresh air, in the person of Peter Wolf,gave them a way back to who and what they truly were: a risk-taking, multi-dimensional collection of jazz, rock and yes, political energy--driven by musicianship really seen in the Pop world. They embraced the opportunity, and created a work that many are coming to see as their best effort--at least since Chicago VII.

Sophisticated rock chords, fueled by jazz and rhythem and blues--with lyrics and vocals that told compelling stories, about love, peace, longing for joy and the day to day experiences of people.

They recorded what they thought of as Chicago XXII, and recaptured an inner happiness and energy that was lost amid the drugs, sex, mindless ballads and forced commercialism of the 80s and 90s. All one has to do is listen to the lyrics on songs like All the Years and The Plaid to hear their pain, and how they howl at the moon--in this case--the so called experts that they surrendered to.

The first track, Stone Of Sisyphus, hits you right in the face--immedately--with a horn riff introduction reminiscient of Introduction. Robert Lamm, who's vocals have not been as good since Chicago II, quickly gives the message, musically, that is the Chicago you know and love. He then delivers sweet, nostalgic notes on Here With Me, a song that evokes the same feelins as Beginnings did so very long ago.

Look, enough people have written lengthy reviews of all the songs. All I can say is that in these diificult times, to be surprised, delighted and touched by music that SAYS SOMETHING, in a superb musical way, with productions that use all of their talents, is a remarkable experience to hear.

The Greeks have a definition of 'Joy" which states, 'to use your full range of powers along lines of excellence.'

Stone Of Sisyphus exemplifies this!

Please read the liner notes, sit back, and let the music take you to a place where Chicago used to live. For me, its home...

Undoubtingly, the past several years have been more about celebration of Chicago's past catalog. With so many different hits collections from 2002 with Only The Beginning, 2003's elaborate and definitive boxed set, The Box, and 2007 Very Best Of Chicago 40th Anniversary collection. they've only managed to make a couple of new albums. With the dissapointment of Chicago XXX, and their second holiday album, What's It Gonna Be Santa, many have been anxiously awaiting for something more invirgorant from the group to fully re-introduce Chicago to the next generation of fans. Hard to believe, it has finally happened for die hard Chicago fans, a lost record of the past that Warner Brothers refused to release back in 1993, now has finally seen the light of the day.

The 2008 release of Chicago's long-awaited album Stone Of Sisyphus, has finally made its fifteen year way to record stores and MP3 Players all over the world. The songs really sound great, and deep down to the hearts, really brings back the distinctive Chicago sound that hard core fans of the 70's and 80's have awaited to the fullest content as possible. Some of the tracks were released as part of The Box such as Bigger Than Elvis, which Jason Schieff sings soul somberly in heart in hand for his father who was a performer with Elvis Presley, and the upbeat and driven Stone Of Sisyphus, All The Years to name a few. The other new tracks really stretch the soul that the group had missed for so long including tracks are influenced from Jazz, a touch of Hip Hop, and Adult Contemporary. The other new tracks work great including Sleeping In The Middle Of The Bed, whcih feels like it is sort of Chicago's answer to Marvin gaye's What's Going On, as well as Mah-Jong bringing in the feeling of grooves and soul, and deep songs like Cry For The Lost and the elequent Here With Me (Candle For The Dark.) All in all, the songs really sound great, and drive even more than lackluster albums that are more about the artist like Rihanna, the poor train-wrecked Britney Spears, and Beyonce', who've really made poor albums these past few years.

Honestly, so far this year there really haven't been any good albums at all, but Chicago really pulled one out of the hat that just came from the past. It is just too sad though that Warner Brothers decided not to release Stone Of Sisyphus years ago, because this has been what die hard Chicago have been missing for so long, as well as the music industry. This is honestly Chicago's best work in years, and really drives it in for die hard fans, and for anyone who hasn't yet owned a Chicago album. This is really one to enjoy for your MP3 player.

Songs: B+

Price: B 1/2+

Remastering: B+

Overall: B 1/2+

Best music since Chicago V or VII. This is why I liked Chicago in the 70's. Great music. Who is the joker that gave this a 1 star without hearing the CD?

So there I was in the Marcus Center for the Performing Arts in Milwaukee in 1993 watching a terrific Chicago concert, when lo and behold, they unveiled a terrific new song, "The Pull", that would be featured on their new album, Chicago XXII. I waited, grabbed a VHS of their live concert at the Greek Theatre so I could hear "The Pull" again, and waited and waited. You all know the story, we heard about the mysterious Sisyphus off and on during the late '90's and early 2000's, but I don't think anyone ever dreamed we'd ever hear it. I finally, finally got my copy today, and it is simply fabulous. A reflection of the early greatness of the band, and their ability to cover ever single approach, musically and vocally. I indeed hear reflections of "Sonny Think Twice" here. Okay, I'm not a rap fan and so "Sleeping in the Middle of the Bed" isn't my favorite, but I applaud the guys for venturing in that direction. As Robert says, its really too bad that this album didn't come out in 1993, it would have been a spectacular hit. We can feel blessed we have it now, and for those of you not sure about buying it, hesitate no longer. Its just great!

When I received my package from Amazon today containing Chicago XXXII: Stone of Sisyphus, I was almost too anxious to play the CD at all. I had read so much hype about this previously unreleased album, so many blogs, posts, comments, etc. that I was certain that there was no way that the disc could actually live up to the hype.

With this in mind, I ripped the package open and threw it in the player immediately. From the first notes, I was not disappointed!

This album is fun, exciting, fresh, creative, varied and well-crafted. There are radio-ready cuts ("Bigger than Elvis", "All the Years"), there are big, rock melodies ("Stone of Sisyphus", "The Show Must Go On"), there is even a rap ("Sleeping in the Middle of the Bed"). Throughout the CD, the presence of the big horn section is a joy unto itself.

THIS is what Chicago always used to be to me. No, this is NOT a return to Chicago II or their timeless debut. But it contains elements of the creativity of a band that crossed genres in order to invent their own genre. It contains political statements, tender ballads, social commentary... all the things that made Chicago what it was before the record companies decided to turn them into a cheesy ballad band.

This CD should have been released 15 years ago. Who knows whether it would have changed the direction for Chicago over the years or not or if it would have helped keep real Rock on the radio. But it most certainly would have kept more people interested in this excellent band.

I am thrilled that this CD has finally been released and that it does, in fact, live up to the hype. I highly recommend it to any and all fans of Chicago and melodic rock in general.