Customer Reviews

VII

5 star:		(14)
4 star:		(6)
3 star:		(5)
2 star:		(0)
1 star:		(0)

 

 

Originally released as a double LP (remember vinyl?), this single CD epitomizes everything this band proclaimed itself to be in its infancy: diverse. Not only does it contain no less than four monster hits - (I've Been) Searchin' So Long, Call On Me, Wishing You Were Here (with a little help from the Beach Boys), and Happy Man - it very successfully pushes the limits of contemporary music with all of its supporting material. Guitarist Terry Kath never sounded better on Song of the Evergreens, Byblos, Aire, Italian From New York, and Life Saver. The rhythm section is tight and exciting (Hanky Panky and Mongonucleosis), while the horns sound big and brash. But again, it's the diversity of the material that makes this CD sizzle. From the contemporary sound of the aforementioned four hits to Mongonucleosis (the ultimate party song of the 70's), the bluesy Skinny Boy, the biographical Woman Don't Want to Love Me, and the jazz influenced sounds of the instrumental pieces (the first 26 minutes of this CD contain no vocals!), this CD has it all.

While Chicago would go on to record perhaps more popular songs, perhaps motivated (driven?) by the change in the FM radio format (AM radio in stereo, replete with jingles and giveaways), never again would they match the creative energy found on this compilation. A classic in every sense, it's hard to comprehend why Chicago VII never received far greater acclaim, but then the critics have always loved to hate Chicago.

The boys from The Windy City blew into 1974 on a serious roll: six consecutive platinum albums, two consecutive #1 albums, and the status of a world-class supergroup. Ensconced in the creative safe-haven of their Caribou Ranch studios high in the Colorado Rockies, the band defied all sense of convention by producing a brilliant 15-song set that remains their richest and most stylistically diverse album ever. From progressive instrumentals ("Aire") to Latin pop ("Happy Man") and jazz ("Mongonucleosis") to acoustic ("Byblos") and electric ("Lifesaver" and "Woman Don't Want To Love Me") rock to funky blue-eyed soul ("Skinny Boy"), Chicago VII showcased their dazzling musicianship to full effect. This was an incredibly original and innovative band at their personal and professional peak.

As an ex-brass musician, I always appreciated Chicago for their blend of jazz, rock and plain old musical skill.

In the boxed set, this was considered their "jazz" album. It is challenging to listen to, few pop ballads, the 1st half is almost all instrumental. It is also a fascinating listen.

For non-instrumental songs, three of Chicago's best are here, Call on Me, Byblos with its wistful lyric, and Happy Man, my favorite Chicago song (danced to it at my wedding)

Over the years, my tastes have moved more towards jazz, because rock musicians embrace ignorance. Chicago VII is evidence to the contrary, that skilled musicians who care about playing well, can play rock.

Those who criticize Chicago for being too commercial or too predictable should listen to this (double) album (on one CD). The listener has to go through the first side and one half of the first album before one hears the first track with lyrics and vocals. The first five instrumental tracks contain some complex horn arrangements interlaced with disjointed jazz solos, all of which are enjoyable. Fans have yet to see such a commitment to long and complex instrumental arrangements on any subsequent Chicago release. The other tracks contain a latin feel not unlike that found on Santana albums of that era. Percussion instruments are stressed courtesy of Chicago's new member Laudir OIiviera and are brought to the forefront on the exuberant "Call On Me", the moody "Happy Man" and the exciting instrumental "Mongonucleosis". The are, of course, some hits here. "I've Been Searching So Long" represents a protypical power love ballad, a style later used by the group to the nth extreme in the 1980's. This song, however, was new enough not to be a cliche at the time of its release. "Wishing You Were Here" contains some great harmony vocals with the Beach Boys. This is one Chicago album to get. It was released at a time when any album they put out would go to number 1. That tendency gave the group some confidence to take a few risks, when they had a producer that would allow them to take risks.

If I could own only four Chicago albums, this would definitely be one of them. The others being CTA, II and III. This album has a bit of everything and it's definitely worth owning!

"Aire," "Devil's Sweet" and "Hanky Panky" prove Robert Lamm's axiom that Chicago is a rock group that plays jazz. As a jazz enthusiast, I must say these are solid jazz pieces that would make the likes of Art Blakey and Rob McConnell proud. Great stuff! Too bad the group didn't do more straight-ahead jazz numbers.

"(I've Been) Searchin' So Long" was the first of three hit singles from this album and deservedly so. James William Guercio really shines as a producer on this cut as he skillfully balances the horn and string sections without having one yield to the other.

"Song of the Evergreens" and "Byblos" are solid, evocative numbers from Terry Kath. Lee Loughnane gives a well-delivered vocal performance on "Evergreens" and, as usual, Kath does some great guitar work here. "Byblos" is an interesting, if not introspective, story about how he meets a girl at a club only to lose her to someone else. Been there, done that.

For all its strengths, this album does have one weak spot and that's Robert Lamm's "Skinny Boy." This is not one of Lamm's better vocal performances as his voice sounds rough and scratchy. If Lamm was trying to do a blues number, he came up short. Fortunately, the Pointer Sisters help pick up the slack here.

Aside from that minor criticism, I still think this is a great album. Clearly, Chicago VII is a classic and it should be included in every Chicago fan's album/CD collection.

Chicago were never better than they were here. They could never quite top themselves after 7 (although X does come close). That balance between pop and experimental music...so perfectly executed...belongs in the same league with David Crosby's "If I Could Only Remember My Name"

Sadly, Chicago was never the same since Terry Kath died. He was unique and irreplaceable. Listening to such dreck as "Hot Streets" and "Chicago 14" only makes me miss him even more. They did make a comeback with "Chicago 17", but that fell apart after Peter Cetera's departure.

If you're new to Chicago's music, the best albums to get are "Chicago Transit Authority", "II". "III", "V", "VI" and this album. That is the cream of the crop. The other albums are variable, from "good" to awful, depending on your point of view. "13" is a good disco album.

It looks like Chicago just keeps getting better and better. Their 3rd #1 album in the last 3 years appears to be the most unique one, but I think it's the best album they ever did(with the exception of #5). With hits like "Wishing You Were Here", "Searching so Long" "Call on Me", and "Happy Man" it would seem impossible for this album NOT to be #1. The entire band gives a great effort into putting this album together, Robert Lamm, Peter Cetera, and the late Terry Kath provide excellent vocals for this album. Walt Parazaider, Lee Loughnane, and James Pankow as usual are the highlight of the album with their stellar horn playing, and the addition of Laudir De Olveria makes the percussion section look stronger than ever. This is one album that must be bought.

Chicago VII has long been my favourite album (of any artist), but frustratingly fails to get a nod from the Rock literati in their endless "greatest albums ever" listings.

While its complex fusion of gospel/jazz/rock may not be as immediately rewarding as, say, Chicago V, and may require several plays for its riches to be fully appreciated, this album embodies the "spirit" of Rock as much as any of its contemporaries.

The essence of its greatness lies in the juxtaposition of its "difficult" songs with its more radio-friendly tracks to create an eclectic, yet "whole-of-sound" atmosphere.

The opening instrumental numbers set the scene for this experimental approach, with the gaelic-tinged "Prelude to Aire" and "Aire" creating a base upon which the group segues into a more hard-core jazz/rock sound, followed by an equally complex but mellower "cool-jazz" set comprising "Happy Man", the jaunty instrumental "Mongonucleosis" and two stunning improvisational numbers in "Song of the Evergreen" and "Byblos".

Underlying this complex soundscape is a sense of playfulness which has always been at the core of the group's playing, exmplified here by "Call On Me" and "Women Don't Want To Love Me" (!).

This album represented a watershed in Chicago's career as it began to reinvent itself as a more mass-market band (intentionally or otherwise), by softening its original brash, brassy sound to encompass the mellower Rock sounds FM radio wanted to play. While greater chart and concert successes would follow, Chicago VII represents the apex of a band unique in the Rock maelstrom.

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, a flute, drums, guitars and keyboards, including a mellotron, Fender Rhodes, ARP synthesizer, and clavinet.

"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 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.

There are at least three versions of this CD available. This version was released in 1995. There is also a 1990 release and a 2002 remaster that includes a bonus track. If you like Chicago's blues music you may prefer the version with the extra track. You may wish to survey the available versions to determine which version best meets your needs before buying.

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. If you are going to own music by Chicago, this CD is a must.

This was one of the first albums I ever purchased. Great album. A nice mixture of rock and jazz.

Of particular interest was the song "I've been searching so long". Fabulous song. Well written. Well played.

I have read some of the previous reviews and those people have too much time on their hands. They have decided to be too critical of this particular cd. I wonder why??

Is there any album or cd that is absolutely perfect???? NOOOOOO!!!!! Most cd's have albums that we can live without. But we buy them anyway because we like what the group is doing.

So buy this album already. It has jazz. It has rock. It has easy listening. And it is not to be missed. Sit down and pop it into the cd player and have a drink. Remember when you were growing up and first heard this album. Then you WILL agree that this is one of Chicago's best albums.