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Reviews Written By: A33DEIP48RB7QU

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	Trail of Tears
	"A Masterpiece - A Must-Read"	2007-09-04
I am a descendant of some Southeastern Native American tribe: Creek, Choctaw, or Cherokee. The record is cloudy, and my exact lineage is hard to pinpoint. So it is that I commenced learning about the Trail of Tears, and this is the first book that I picked up in that endeavor, (as I was driving through Oklahoma and made a stop at the Cherokee Trading Post). The story effects me, not as horribly and directly as it did my ancestors - but it's effect on me was as personal and offensive. The Trail of Tears stole my ancestry from me. The book was hard for me to read for many reasons. It clutches at our assumptions about American history. It gets us into the human side of that ugly chapter in our past, almost as though CNN were there covering it. It fomented within me terrible emotions regarding one of my American heroes: Andrew Jackson. I cannot think of another man I admire, Zachary Taylor, in quite the same way anymore! Gloria Jahoda's The Trail of Tears started me down my own path, and helped me answer some of my most poignant questions: I think that my ancestors were most likely Creeks, for instance, and this helps. But I also now know how they were living in the early 19th Century - that they were likely settled farmers or craftspeople living at peace with their neighbors. I know that they were likely Christians, practicing the faith in ways the Europeans could only imagine. I know that somewhere there was a Scotch-Irish frontiersman who became my paternal ancestor. The genealogist seeking answers about Native American roots will not be able to go back very many generations, before running into brick walls. This is sad and frustrating. The answer is to be found in excellent histories like this. But I have not said anything yet about the quality of writing, depth of research, and the way she ties many different plots together into one relentless narrative. And so - I urge all readers to read this book. And even moreso, students of American Indian Policy, and genealogists like myself that are seeking answers about our Native American ancestry.
	Ringo Starr/All Starr Band - The Anthology... So Far...
	"Mostly Tolerable, with Splendid Moments"	2007-09-04
First - it is hard to listen to Ringo's songs, many of which are ratcheted down several steps so that he can reach the higher notes. And - the background vocalists are hard to take on the Beatles songs. Sometimes they are Americans that you can tell are trying to sound like Liverpudlians John and Paul. The highlights on this are the non-Ringo songs. Yes - Felix Cavaliere pretty much carries the entire set. Raining in my Heart is another pinnacle. Timothy B. Schmit sounds great. Peter Frampton is pretty good. Iko Iko rocks. But I agree with other reviewers. Good golly, Joe Walsh - what the heck are you doing singing Henley songs? Please . . . no, no, nooo! And Todd Rundgren - no, it is never time to get "stupid". Give it a break! But you can hear the band having a blast throughout, and you really want to be there live, hearing these legends playing on stage together. When you listen to this entire 3 CD set, and place the first CD in, you're thinking, "Oh brother, here we go - for the next two and a half hours I gotta listen to this." But as you go through it you find yourself paying attention and . . . enjoying it. By the time the last track on the 3rd CD plays out, you actually start to miss it a little. I know - no one's forcing you to listen to the entire thing, but in my case I try to get to this one at least once a year, and I always listen for something different. All in all - thank you Ringo, for bringing us your music in this novel form. It is not as well-produced and crisp as the VH-1 Storytellers (which is done with more respect and love for the Beatles) - and for Beatles covers, this album always falls short. But the covers of most of your guest artists are a real treat, in most cases. But there are WAY better live albums out there for Beatles fans: the 5 stars: Concert for George, Tripping the Live Fantastic; and 4 Stars: VH-1 Storytellers, Paul McCartney Unplugged, Wings over America, George Harrison Live in Japan, and Paul is Live - - - that the Ringo Anthology simply does not rise to those other stellar levels. I will relegate it to a 3-star, with John Lennon's Live in New York City and Live Jam. I would only recommend this CD set to fans of the Fabs, whose favorite Beatle was Ringo. The rest of you are taking a chance.
	John Lennon, Yoko Ono - Sometime in New York City/Live Jam
	"A 4-Star and a 2-Star"	2006-07-27
I avoided buying the album for years and years. The songs got little radio play, and the cover just didn't make it for me. It struck me as "this is one album where Yoko's pulling all the strings". When I finally bought it along about 2000, I must admit I was pleasantly surprised. Like many of the reviewers, the album features some good stuff from Yoko. Angela, John Sinclair, and Born in A Prison provide haunting melodies to rival George Harrison's most melancholy moments. I will have to agree with the general review of CD2. I do love the live version of Cold Turkey more than the studio version. And, "Well (Baby Please Don't Go)" almost redeems the entire second CD. A real gem. Thanks to reading these reviews, and the CD notes a little more closely, I now realize that George Harrison appears on the Live Jam - will listen more closely for him today. I may even go and buy the remaster and see what new stuff is there. Hey, what's the deal with "Live Jam" and George's "Apple Jam" anyway? The Beatles were good arrangers, songwriters - but not great solo instrumentalists. The only way George and John could have pulled this stuff off, in my view, was to have Paul and Ringo in and not all their other mates. They need each other for this sort of thing. I do enjoy listening to the CD in its entirety. But hey, John's an ex-Beatle and has much higher standards than this! Buy it if you are a Beatles completist, pop history buff, or John Lennon nut that kinda likes Yoko. The rest of you, don't risk it.
	John Lennon - Mind Games [Bonus Tracks]
	"John's Back"	2006-07-27
I always viewed Mind Games as the Return of John Lennon. Consider that he took his leave along about 1968, when Unfinished Music No. 1 came out. At the same time, Paul asserted his artistic direction over the Beatles, which in turn became a frontal assault on the long term viability of the same. For five years John disappeared into a personal, albeit not artistic, limbo - screaming, exorcising, experimenting, which in one case produced the climcatic masterpiece "Plastic Ono Band". Self-indulgent detours masking as art were his norm then: Unfinished Music, The Wedding Album, Revolution 9, Live Jam, and although I can't say that I truly dislike these efforts when taken in their intended spirit, indeed you have to try to "get" the effect Yoko had on him and how it ended up liberating him artistically (although sadly - we only have Double Fantasy to show for it) - still it became distracting. Mind Games is the return of Beatle John, which in my view is Real John. Or better yet - the best, truest John is the Beatle that married Yoko. Background vocals are reminiscent of the Abbey Road sound. He recovers his pop chops, is not so excessively angry, and at long last John is having fun again. It also is one of the two albums that he recorded without another Beatle present. He and Yoko may be blamed somewhat for breaking up the Fabs, but when all is said and done he is the one that returns unapologetically to the Beatles sound, over and over again - especially on Mind Games. If you have never heard this album, and are a Beatles fan - I would say that after all these years you should try it. I think you will be pleased.
	John Lennon - Plastic Ono Band
	"An Utter Masterpiece"	2006-07-26
I finally bought this album along about 2001. I had never owned the vinyl, never listened to it. I was familiar with "Mother", and "God" thanks to the Imagine soundtrack. "Power To The People" of course, I had heard before. Little did I know what powerful, intense, sad and hopeful art I had been missing, for 30 years. Imagine a 41-year old, hearing these tracks for the first time, 30 years after it was released. One rarely has the opportunity to listen to a legendary piece of music for the first time, long since having reached mid-life. I still marvel at the effect this music has on me. I am listening to it now. For making a profound connection with the listener, Plastic Ono Band rivals the best offerings of the Beatles. Sgt. Pepper and Abbey Road were overall better pieces of work, but nothing the Beatles ever did made you feel you were communicating with the artist, in the same room, as well as John does on this album. Also, I always love hearing Ringo on the drums of a Beatle solo album. The product is all John, but there is a linkage to the Beatles sound. That is, he breaks away on this album, without repudiating the Beatles, per se. There is an aura of familiarity. It is the John we know. But he is sharing himself with us, for the first time, openly and honestly. So - before I go over the top, if there is anybody out there that still has not heard or purchased this album: if you love the Beatles, you've got to have this in your collection. It might rank in my Top Ten most relevant, enjoyable, and even Beatles-esque solo albums.
	George Harrison, Eric Clapton & Band - Live in Japan
	"Every Career Should End Like This"	2006-07-13
I look at Harrison's Live In Japan as more than a collection of music played live. Taken with "Brainwashed" and "Concert For George", this album is the first of an epic trilogy in which George first says good bye to us, and then we say goodbye to him. Coming off a five-year hiatus in 1987, George re-enters the limelight with "Cloud Nine". The years 1987 - 1991 were one of those post-breakup golden eras of the Fab Four. The three surviving Beatles were beginning to reconnect with each other, Yoko puts out "Imagine". The ice was thawing rapidly now, and Beatles fans were deliciously treated. From Cloud Nine to the Traveling Wilbury albums, George is having a blast, and shows that of all rock icons, he has perhaps the coolest and perhaps most numerous group of iconic friends. Everybody is jamming with George these days. In the pantheon of the Beatles legend, 1987 - 1991 were George's years. The quiet Beatle, who shunned the limelight, agrees to do this concert and album in Japan. His music covers the gamut - only about half love songs, the remainder are his commentary on life, the environment, spirituality, his love for John Lennon and all of his friends. On this album, George Harrison is where he was not often found while in the Fabs: front and center, and he masterfully commands the stage. To the side, Harrison's devoted friend Eric Clapton treats Beatles music with respect and love. Live In Japan is released, and within a few years George is first diagnosed with cancer. But in the meantime, he reunites with the Beatles for the Anthology, then records some tracks that are to become "Brainwashed". Each brick of the Harrison edifice is carefully put in place as his career comes first circle. Finally - the Concert for George closes the final chapter in the saddest and most joyful of ways. But that's another review. George covers all of his bases as he exits the stage . . . perfect! This CD belongs in every Beatles and classic rock collection.
	George Harrison - Dark Horse
	"Like A Lot of (Good) B-Sides"	2006-07-10
With All Things Must Pass, and Living In The Material World, George Harrison treated the world to a back-catalogue of material that was conceived while he was still in the Beatles, but never made it onto a Beatles album. By the time Dark Horse came around, it sounds as though he were struggling to establish his own sound, separate from the Beatles, and it is apparent that (like the other Three) he needed them to complete his substantial gifts. It was only through the Dark Horse years, culminating with Cloud Nine, did he realize that his best music came when he embraced the Beatles legacy, instead of running from it (something that Paul McCartney finally figured out with Flowers In The Dirt, and that Ringo does better than anybody in his Mark Hudson records). But, Dark Horse rates a three, only in comparison to Harrison's works (listed above), which are masterpieces. It is an album that I enjoy listening to regardless. I just would not recommend it to anybody.
	George Harrison - Wonderwall Music
	"Do I Enjoy This, or . . . . ?"	2006-07-10
I think that this album is growing on me. It has no pop hooks, and tracks like "Crying" seem to go on and on until . . . wow! Maybe that did sound good! Another reviewer mentioned its similarity to Magical Mystery Tour. Indeed, one only needs to listen to Wonderwall to understand the very monumental influence that George Harrison had on creating the "Beatles Sound." It wasn't all John and Paul. Wonderwall makes you realize that it was durn close to a three-way tie. (And some may argue that Ringo's influence was right up there too, based on his constantly improving solo work). I think that Beatles fans considering buying this for the first time, should go ahead and do it. I do not think you will be disappointed. Others should be careful. If you are looking for pop, you will not find it here. If you like avant garde, (or better yet, "Avant garde clue") - then you are very likely to love having this in your collection.
	Billboard Dad
	"Is This What They Call "G" These Days?"	2006-07-08
I did not watch this movie, but overheard it in the next room as my girls watched it. The movie may be 99% wholesome and appropriate, but there is one line in it that is so offensive and over the top that I cannot recommend it to anybody. It is where these pre-teens who have arranged a date for their dad, broach the topic of "safe sex" with him. He says something like "I'm 40 years old and know what I'm doing." Excuse me? I don't know the plot. Are the dad and his date divorced? Are they widowed? I don't know - but in the real world children do not get so geeked about their parent having premarital sex with someone that is not their parent. The fact is that most children of divorce wish their parents would get back together and are horrified about their parents (especially the parent of the opposite sex) sleeping with someone else. And if the children are "modern" and "resilient" as this movie's stars are portrayed, still they tend to cope with the topic of parental sex with a non-parent by not thinking about it. My kids seemed to really enjoy this movie. But I am offended that a "G" movie would imply the normality of discussion about sex-with-a-non-parent between children of divorce and their parents. Our society looks the other way at the emotional toll divorce exacts on its children, and the looseness with which we portray sexuality. Family courts, divorce attorneys, and some counselors give us "happy talk" about how divorce can actually be a good thing for kids. Apparently now "G" rated movies can be added to the list.
	Billboard Dad
	"Is This What They Call "G" These Days?"	2006-07-08
I did not watch this movie, but overheard it in the next room as my girls watched it. The movie may be 99% wholesome and appropriate, but there is one line in it that is so offensive and over the top that I cannot recommend it to anybody. It is where these pre-teens who have arranged a date for their dad, broach the topic of "safe sex" with him. He says something like "I'm 40 years old and know what I'm doing." Excuse me? I don't know the plot. Are the dad and his date divorced? Are they widowed? I don't know - but in the real world children do not get so geeked about their parent having premarital sex with someone that is not their parent. The fact is that most children of divorce wish their parents would get back together and are horrified about their parents (especially the parent of the opposite sex) sleeping with someone else. And if the children are "modern" and "resilient" as this movie's stars are portrayed, still they tend to cope with the topic of parental sex with a non-parent by not thinking about it. My kids seemed to really enjoy this movie. But I am offended that a "G" movie would imply the normality of discussion about sex-with-a-non-parent between children of divorce and their parents. Our society looks the other way at the emotional toll divorce exacts on its children, and the looseness with which we portray sexuality. Family courts, divorce attorneys, and some counselors give us "happy talk" about how divorce can actually be a good thing for kids. Apparently now "G" rated movies can be added to the list.
	George Harrison - Living in the Material World
	"Love It - Now Bring On The Remaster"	2006-07-08
I waited almost 30 years to buy this album. I knew "Give Me Love" of course. But when I bought and listened to it for the first time, I was struck with how familiar the entire album sounded. I'll bet that in the pre-vanilla world of FM radio of 1973, I may have heard all of the tracks, somewhere in my memory these songs got locked away. But - good music always has the strange quality of familiarity. You feel you have heard it before. George Harrison can write a great hook, and in Material World he mines his imagination for sounds that we may recall from the Beatles days - the rhythm guitar riff in "The Lord Loves The One", for instance, which harks back to the intro of "Old Brown Shoe". George tips his hat to the Beatles throughout this album. You get a sense of the huge impact he had on their sound. But he also steps out here and does an entire album his own way. He is still presenting a catalogue of songs that were conceived while the Fabs were still together. It is like "All Things Must Pass", Part II, and does not disappoint. The Quiet Beatle, indeed, has a lot to say. We hear a lot about George's vanishing creativity as the 70s waned. I would counter, and say that George Harrison may be an acquired taste to some. With repeated listens, his vision and message begin to materialize over time. His profound sense of unusual chord progressions yields a beautiful sound that is uniquely his. George Harrison can impart a positive message using the darkest of sounds, which is almost the exact opposite of what Paul McCartney does in his music. It may be sad that Lennon and McCartney split up - but Harrison brought a lot to the table. Lennon had his anger and irony; McCartney his soaring musical vision and joy; but Harrison has his optimism mixed with sadness. "That Is All" rivals "Something", but for some reason was not released as a single and has been below the radar screen for decades. This is one of my favorite Harrison CDs. It is a true solo album, in which he does not run away from his status as an ex-Beatle. Olivia and Dhani Harrison have given us The Concert for George, and a set of remasterings. It is time for them to get into the early Capitol albums, starting with this one - and make even better, this excellent music. I wonder what bonus tracks are floating around?
	Chicago - Chicago Box (Bonus DVD)
	"What Box Sets Are All About - Sit Back and Enjoy"	2006-07-06
Rhino did this package the way it does all box sets, with care, respect, devotion to charts and sales, and business savvy. Chicago - The Box is extremely well crafted, from the liner notes, to the pictures, and play list. This is the first definitive career-spanning box set by Chicago. Group Portrait would please the Kath/Guercio era fans. But I'm sure there are a number of post-Foster fans that love discs 3 - 5 but can do without #s 1 and 2. Let's face it, folks, this is Chicago. Take it or leave it - they are a band that spans many different eras and styles. There is something for everybody, if there isn't everything for anybody. To those one and two-star reviewers, look again. The hits from each album are included, but as much as possible Rhino has added some extra Kath in the early era, and extra Lamm in the later. This is why "We Can Stop The Hurtin'" and "Forever" were included. You have to have the hits in a box set - and Rhino has chosen wisely which extras to include. Is it the list of songs I would have chosen? Of course not! In fact, I might have altered it by as much as 50%! But that doesn't mean I should whine and give it two or less stars! I love playing this set, and Disc 5 is dynamite, especially with the Stone of Sisyphus sampling! If there is one thing that disappoints me about the entire thing, it would be that they should have ended it on a Chicago-esque high point. The final track should have been "Your Love Keeps Lifting Me Higher", or a standout live track from Chicago 26, like Beginnings. As it is, it does seem to just peter out (no pun intended). I am confident that Rhino will mine the Chicago vaults for unreleased cool stuff over time. They have only completed phase one of the Chicago remasters. Look for all of Stone of Sisyphus and other mythic tracks left on the cutting room floor to appear in future collections!
	Battle Cry
	"A Great Historical Fiction That Builds In Intensity"	2006-07-03
"Battle Cry" is a book my daughter had bought me for my birthday two years ago. Regrettably, it took me some time to begin reading it. I found it a little hard to get into in the early chapters. There were a lot of characters to keep track of, a la "Dr. Zhivago", and the narrative has slow periods. I considered setting it aside a time or two. But I kept with it, and over time it began to hook me. The character development reminded me of "Lonesome Dove", and soon I became eager to get to the next page. When I had 100 pages to go, I could not put it down. I think that I will read it again, so that I can get more out of the slow spots. This is where Leon Uris imparts a lot of the tedium and monotony of Marine life. I would recommend that any reader of historical fiction, action, and/or WWII read this book. In fact, I should think it an essential for the libraries of any of the above. In hindsight, I can say that I did thoroughly enjoy it.
	Chicago - Chicago 17
	"Same Chicago, Different Sound, That's All"	2006-06-30
Chicago is more than any one member. Some people think that if it doesn't sound like CTA, it doesn't count. But this group started out with seven very talented original members, and as they left, were replaced with other very talented people. Robert Lamm and James Pankow dominated the songwriting creativity of the early era. Over time, Peter Cetera gained in prominence. This album is the culmination of Cetera's ascendance as temporary "leader" of the group. Those that do not think Chicago has been true to its roots need to consider: this is the kind of music Peter Cetera likes, and he was the main guy at this point. He can't make himself what he's not. By being TRUE TO HIMSELF, he was able to influence a direction that connected with a whole lot of music buyers. Give him credit for being authentic - and give the rest of the group credit for keeping the band together while Peter had his day. Chicago has something for everybody. And I am thankful to them, for giving us this music that made fans out of some close relatives of mine that did not like the early horns albums. Yet - I do not like this one as much as 16. For whatever reason, 16 had a better click with me. 16 marked the new direction. 17 just carried it on. But this album is almost a five-star. Everytime I hear Hard Habit To Break, and You're The Inspiration, and my girls start singing along to it, I find myself liking these songs even more. This is a legendary album, and it still sounds great. Play Chicago V, and then this, and marvel at the versatility of this awesome group!
	Chicago - Chicago 19
	"Interesting Album, I . . . like it!"	2006-06-30
It's hard to put a finger on this one. Is it good, or bland? Do the singles all sound alike, or do those sweet little hooks in each make them stand on their own? How much horns do we really need? OK - I have to admit two things - first, that I was really bothered by how monotonous the singles sounded on this. Second - heck, these are, after all, quality hit singles. Ballads? I won't take part in that debate. Chicago at this time was a group of 7 guys, 5 of whom were originals. They were still kinda in the Foster era - and this album spawned some monstrous singles. It so happens that in this album, Jason and Bill go to the front of the pack with these singles. The remainder of the group "stand up" on the deep cuts. I do believe I hear Chicago in there - but then again, Jason and Bill are in the band too. They get to do their kind of music. And people loved it! Still, it feels like they are still coasting from the Foster era. But there is the promise of a band that is still coming together. Their best lineup ever is just around the corner: once Howland and Imboden join. Yes - buy this album. Lots of ear candy.
	Chicago - Chicago 16
	"Begin The Foster Era"	2006-06-29
In this fourth era of Chicago - Laudir Oliveira is gone, and the group has decided to focus on a more relevant sound for the 80s. They bring in mega successful producer David Foster, and best of all Bill Champlin. The final solution to replacing Terry Kath ends up being - don't try to replace him . . . he can't be replaced. Instead, do what any smart organization in crisis does: reinvent yourself. I first heard this album playing in a record store during the summer of 1982. I had all but given up on Chicago. As the songs played, I gradually began to tune in: "this group sounds familiar. Is that Peter Cetera? There's the brass - it's Chicago!" When I heard Bill Champlin singing, I knew that they had made a great move. At first I wondered if it were Jimmy Pankow or Lee Loughnane on steroids (the reason why Champlin is a good fit is because of these similarities). Anyway - I was overjoyed at the sound of this album, and bought it. For being the most improved over a prior album, this one is clearly #1 for Chicago. This album was the peak of their Foster era. Unlike most people, I rank it higher even than 17. If you are even reading this, debating whether or not to buy it - I would say, buy it. I love it!
	Chicago - Chicago XXVI - The Live Album
	"Chi's Best Live Album"	2006-06-26
I love this CD. I don't know about the studio tricks, though. I don't doubt that some in-studio editing happened on this, but when I saw them live at DTE Energy Theatre a few years back, they did not sound much different than this. Sorry folks - I love and miss Terry, Peter, and Danny (is that the three of them parachuting out of the plane in the cover picture? Maybe it is the three wind players? I know - I'm reaching!) - - - but, this present line-up is the best ever. None of the Original Seven can ever be replaced, but today's Chicago is made up of members that want to be in Chicago, that care about the legacy of Chicago but who also want to keep the sound relevant and current. In my Night and Day review, I state that the present era of Chicago began then. This is the era where they finally get it together after several personnal shake-ups. It represents the culmination of a search that began with CTA, and never really was completed, which is - What Is Chicago? I really feel like they have it altogether now. Sadly, the industry doesn't seem to care, but no matter . . . This era of Chicago will last until the industry and fan base does rediscover Chicago, as they did Tony Bennett a decade ago. Chicago will be "cool" again, before the remaining original members all retire (and I have hopes that Chicago as a band and concept will outlast any one member). But I predict another revival for Chicago within ten years. Buy this CD, listen and enjoy it. I disagree with Robert Lamm: This IS Chicago. Meanwhile - I look forward to seeing them one week from today, again at DTE!
	Chicago - Christmas: What's It Gonna Be Santa
	"Can Chicago's Current Line-up Do Anything Wrong?"	2006-06-26
I am not going to write a bunch of text here. I love the reviews, and I LOVE THIS CD. Chicago's present line-up is 5-star, across the board. I do not take part in the Scheff v. Cetera, Imboden v. Seraphine, and Howland v. Kath debate - but today's Chicago plays as a unified team, more than any other in its history. You always had the sense that Dacus, Pinnick, and Bailey were not true believers; deOliveira was there for the Caribou Sound. And with each passing album, Peter Cetera sounded more and more like he didn't want to be there. THIS Chicago is awesome, so much so that I would not replace any of them with any other prior Chicago member. Who knows - Terry Kath might have pulled a Bailey and bailed if he didn't like the direction? It's all speculation. All I know is THIS sound works, and every album since Night and Day is a joy. Keith Howland's a keeper. OK, I'm starting to write a lot. Buy this album. Enjoy . . . and Merry Christmas!
	Chicago - The Heart Of Chicago 1967-1997
	"Essential Chicago - For The Non-Fan"	2006-06-23
This is an outstanding, excellent compilation - perfect for those non-Chicago fans in your life (like my wife). Some people, amazingly, claim they "don't like" Chicago. Usually they are pop-schmaltz people that don't like the horns of the early albums. Buy this one and watch them suddenly "like" Chicago, as they uncontrollably begin singing along! As a mega-Chicago fan, I for one am thankful that they started doing "schmaltz", as it gave us the musical variety to connect with almost anybody (you can even burn an entire CD of Chicago music that classical-only people would enjoy!). But I cannot give this 5 stars, because it is true that there are too many Chicago compilations. I do love the bonus tracks. In my opinion, the present line-up of Chicago (with Keith Howland) is the best ever. Maybe in some other review I'll explain why. Yes, yes - BUY THIS CD!
	Chicago - Night and Day: Big-Band
	"Yes! Yes!"	2006-06-23
This album marks the start of Chicago's 5th, and current era. Their experience with Chicago 21 and Stone of Sisyphus seems to have given them perspective, and the motivation to move on into the realm of living legends. Someday they will have the sort of late-career revival that Tony Bennett enjoys. And it will be due to material like this. This is just prior to the addition of Keith Howland to the band (best guitarist since Terry Kath). Thankfully, DaWayne Bailey had departed, (who never fit the image of Chicago). On Night and Day, Chicago decides just to do good music. This CD is pure joy to listen to. Blues In The Night is perhaps their single best track in their long history. Robert Lamm's vocals never sounded better. Jason Scheff continues to cement his position as THE CHICAGO BASS player. Bill Champlin simply cooks. N&D has quality solos from each of the wind players (an essential for any 5-star Chicago album). Oh yes - Tris Imboden joins the band as the regular drummer on this album. I miss Danny Seraphine - but where Danny can make the drums sing, Tris makes them dance. Danny has some super-human chops, but Tris has a much better backbeat, and is perfect for this era of Chicago the Supergroup. I don't understand people that don't like this album. Perhaps purists that think all the songs must be written by Chicago, or that extra musicians should be rare; maybe some people who are stuck in the "If Kath/Cetera/Seraphine aren't on it, it can't be good" attitude would not like it. And other people (rock fans) may have an irrational dislike of "Big Band." Whatever. If you think you don't like this CD, please give it as many listens as you need to, to begin enjoying it. You don't know what you're missing! I love, love, love this CD. It is proof that Chicago never faded. If anybody faded, maybe it was the record industry and music buyers. From this point forward in their career, Chicago would record only because they wanted to, not because they had to. They play music for the joy of it, and open-minded music-lovers are the beneficiaries. Chicago V is better, but not by much, and only because it has only original music. But if Chicago can continue putting out music this good, I don't care who writes it. Cover schmover. Good music is good music!
	Chicago - Twenty 1
	"End Of The Foster Era"	2006-06-22
Yeah, I know - David Foster produced neither this album nor its predecessor. But the style and direction that he established in 16, lasted through this album. The Foster Era was all about maintaining relevance in the music business. The addition of Bill Champlin was to become Chicago's permanent resolution to losing Terry, and it worked. But, while scoring mega-hits and making a perfect landing into the world of 1980s pop, the group continued to flounder in the search for a guitarist, and in dealing with whatever was going on with Danny Seraphine. This album marked the first perfect blending of Champlin, classic Chicago, the true emergence of Jason Scheff as a member in his own right, and the Foster touch, and thus became another one of those transition albums. DaWayne Bailey finally gets billing as a band member - but he too would be let go. What was to come next - the adding of Tris Imboden and Keith Howland to the band, would represent the first real gelling of the Chicago sound in its history, (in that, all of the members really wanted to be in Chicago). The weird thing about this CD is, every time I listen to it, I like it better, and it almost seems like the first time. I think I have my guard up, expecting it to be bad, so I make up things that are wrong with it. Over time, I open up my ears and heart, and begin to realize that it really is quite good. Somebody Somewhere is a great song, folks. Who Do You Love could have been a track on Chicago V or VI. In fact, the worst part of this CD isn't a song at all - it's DaWayne Bailey's goofy headband in the group photo. You Come To My Senses is the most infamous Chicago song of all time - but really, it is extremely well-produced. In Chicago 21, they seem to have figured out a way to combine what they love to play with what the fans want to hear, a tough challenge which they finally mastered in Chicago XXX. But I give it a 3-star because, for some reason, people go into this CD expecting bad things. I don't want to lead any but the most confirmed Chicago fan to buy this CD. Having said that - I would urge the readers to ignore these reviews by people that can't spell. Some people think every album should sound exactly like CTA. Chicago continues to grow and expand on this album. It tanked because the market moved away from them, like in the immediate post-Kath years. It's a good album.
	Chicago - Greatest Hits Vol. 3: 1982-89
	"A Set Of Songs That Sound Alike"	2006-06-22
Well - actually I do enjoy this CD while it is playing. But the person that would buy this CD should just by the Heart of Chicago set, or the Very Best of . . . or just buy Chicago 16 - 19. The problem is that their music really sounds too similar during this (the Foster) era, and the hits sound even more alike. But all of David Foster's stuff sounds alike. Check out Celine Dion and Michael Crawford's versions of "O Holy Night." But, let's face it - whatever Chicago did in the 80s worked. And every successful pop artist (even most rock artists) figured out that the music-buying public wanted novelty, but not too many surprises. In the 80s Peter Cetera, and probably Danny Seraphine, took over the creative reins, and we got their own honest interpretation of the Chicago sound. I for one am glad that did whatever they needed to to stay in business. The other good thing about this album is that my daughters and wife love it. I can't crank up much of Chicago's other stuff, or play it in the car. But this GH collection always seemed a little unnecessary to me. I can't explain it, it just does. So I give it a 4 and not a 3. If you agree with other reviewers that you just love these songs, then by all means buy it. But if you are a border line Chicago fan wanting to add to your collection, skip it and go for one of the others listed above.
	Chicago - Live in Japan
	"As Good As Carnegie Hall, Not As Good As 26"	2006-06-20
I like to think of Chicago Live In Japan as The Greatest Hits, Vol.2, Part II. Both came out about the same time. It is a way to wrap up the 70s, and enjoy Terry Kath one more time, before Chicago's massive reinvention of itself in 1982. It is hard to compare this CD to the Carnegie Hall album, especially since the Rhino reissue came out (with improvements to the sound and bonus tracks). I agree with one reviewer, that they do not sound quite as tired as they do on Carnegie Hall. There is more of a pop feel, and no extended guitar solos (which some people will like). The Ballet is treated with more respect (they don't do that goofy "yah yah yah" bit of West Virginia Fantasies), and Free/I'm A Man are way better than on Carnegie Hall. And I agree that the sound quality on the original release is better than Carnegie Hall. A Song For Richard And His Friends is better on CH. But I like it, and any Chicago fan should have it, as well as CH. I also think that collectors of 70s live albums would love it. At $70 a pop, only the most serious fans will be buying it. Here's hoping Rhino gets it reissued soon (and I'll bet they do!).
	Chicago - Chicago XI [Remaster]
	"Chicago's Second Peak"	2006-06-19
Chicago XI is my first "5 Star" since Chicago V. This is the album where they perfected their Caribou Ranch, Chicago-plus-congas sound. It has the elements of an excellent Chicago album: original (not warmed-over) brass voices on almost every track; a driving hard rock number with no horns, strong lead vocals by The Big Three Plus James Pankow and Lee Loughnane; and at least two wind solos. Lee Loughnane's solo on Little One is pure art. Those that bemoan its departure from the sound of the first three albums seem to want near carbon copies of the same. Any new group has some signature, experimental style that got them noticed. They all tend toward some mainstream sound over time, partly because their novelty is no longer fresh, but partly based on what the fans seem to like. Is it a soft, AC ballad? Is it a hard rocker? Funk? Rock band with horns? Others may debate the merits of each, but I hear Chicago - and I like it, whatever you want to call it. XI closes the Terry Kath era, and I cannot add to the excellent comments along these lines. I do want to note two early signs of their future direction that have not been covered yet: 1) Danny Seraphine as song-writer. He will offer quality selections on each of the next five albums. You get a sense that he is a creative force in this middle period, giving them some directions and helping hold it together in the wake of Terry's death. This is just a guess on my part, but you cannot downplay his influence, beginning here. He is a big part of the bridge between the Kath/Guercio and Champlin/Foster era. 2) Lee and James' vocals herald the Champlin style. When I first heard Chicago 16 playing in a record store in 1982, I thought his voice must be either Lee or James on steroids. To me, they sound very similar. Here in the Kath era, you have these Champlin-like voices, and it turns out he was a very good fit for Chicago. XI does not have a South California Purples, a Make Me Smile, an Approaching Storm. But it is, clearly, Chicago. The music is accessible, but expertly and artistically done. Chicago's second era is the period when they perfect their record production chops. Listen to Chicago XI, and hear a musical team that knows how to make every variety of music. If the occasional pop song or ballad offends some underground FM enthusiast, well, tough. I recommend this album to all music lovers.
	Chicago - Hot Streets [Remaster]
	"Chicago's Third Era - They Show Up Strong"	2006-06-19
I want to respectfully disagree with many of the reviewers here. Yes, we miss Terry Kath - he can never be replaced, but there are a number of things about this album that make it a 5-star. * Donnie Dacus - give the guy credit. He took on the most difficult challenge in rock history, and delivered. I appreciate that he did not try to mimic Terry. He played the music his way, and in so doing gave Chicago a different flavor. I commend him and the band for letting him be himself (on stage, however, this was not such a positive thing!). From the opening moments of Alive Again, it is clear this will still be a band with a guitarist. Donnie's opening licks, and closing solo on Run Away (from Chicago 13) properly bookend his solid contributions to this middle, transitionary era in the band. 2. Danny keeps his streak going. I have surmised that Danny Seraphine took on something of a creative leadership role at this time. More than ever, his drums seem to sing on this album. 3. Fun. Despite the tragedy of losing Terry, the boys are still having fun. Take off your counter-culture/underground hats, sit back and enjoy! 4. Listenable. This is the first album in Chicago's history, that you can play for your girlfriend, that before was indifferent to them. If I knew that someone didn't like Chicago, I would make sure this was the first album they heard, even before the Foster albums. 5. It delivers the key elements of a good Chicago album. It would be nice to hear a trombone or trumpet solo - but Walt's flute on Hot Streets makes up for that. 6. Peter's liberation is evident. You can hear his exuberance at finding his chops and you get the sense that a solo career is around the corner. This is not good in every way - but the guy knows how to write hits with hooks. (The thing about Cetera songs, is, you feel like you have heard them before - which to me is a great skill and talent). So, how is this the beginning of a new Chicago era? There are the obvious reasons: Kath and Guercio are gone. The band has more control over production, Donnie Dacus enters. They are recording in Miami, not Caribou. It is not a disco album, but it is informed by disco trends. To me this is not a sellout. It shows that they can adapt and are curious about what they can do with any style of music. But please - Alive Again is not a disco song. 120 beats per minute are not an important element. The album cover was unwise - they look kinda goofy, when we needed them to look more serious and "cool". Interesting observation is that Peter and Danny, the next of the originals to leave, are embracing on the cover. Chicago proves that they are more than their members. Chicago is a sound, an idea, a concept, that can outlive tragedy and personnel changes. For this reason, and the fact that I can play it for people that don't think they like Chicago, I give it 5-stars. Yes - buy this album!
	Chicago - Chicago XIV [Remaster]
	"Chicago's Heroic Return To Form"	2006-06-19
I rank this a 3-star, because I would not want this to be someone's first exposure to Chicago. When it first came out, I was disappointed. First, I had started to like Donnie Dacus, and now he was gone. Other than that, I don't know why I didn't like it. I think that a good Chicago album has to have less overall Cetera on it. But the group as a whole was struggling creatively right about now, and Peter Cetera is to be credited with keeping them afloat. He was entering his creative wave at this point (witness his self-titled first solo album). Danny Seraphine continues to present fine compositions, as well. It also is the last de Oliveira album. The congas and percussion will not be a staple of the band from now on. I thought that Thunder and Lightning was a legitimate return to their early 70s form. There was a lot that I loved about the rest of the album - but still used to feel empty after listening to it. In college in 1983, a friend of mine told me it was his favorite Chicago album. I though "what?", and from then on started listening to it with the goal of liking it. Gradually, through the years, it has slowly become an album that I truly like. Robert Lamm and Peter Cetera carry all of the lead vocals, proving that Chicago does not need a prominent third voice (although it helps). This is the final album in Chicago's third era - the post-Kath years of wandering in the wilderness. As the first part of the era dabbles in disco and glitz, this one tests the edges of punk and new wave. The weak efforts of the suits, and hate campaigns of industry rags notwithstanding, this album does not disappoint. It bridges the past (Chris Pinnick's strong guitars) with the Cetera-pop-heavy future. Add the three bonus tunes, and you have an outstanding Chicago album. But please - reader - do not buy this unless you are a tried and true Chicago fan that appreciates all of their styles and eras!
	Chicago - Chicago X [Remaster]
	"Chicago At The Edge Of Their Rocky Mountain Plateau"	2006-06-16
I say the edge, because they almost reach the peak of their second era, the Caribou-ranch years of Chicago VI - XI, with this album. It is not quite as good as XI, but is the best one yet (being just slightly better than the epic VII). Why do I rank it higher than VII? Well, because of the vocals of Terry Kath that start it off, and the hot sax solo. It had been so long since we had heard THAT kind of Chicago. Maybe Chicago V was the last time! And then it goes into You Are On My Mind, with, are you ready, a truly Chicago-esque Pankow trombone solo! de Oliveira, a key element in their second era, is very prevalent on this album. Pop, rock, and blues are tinged with his percussive offerings, mostly notably his congas. It has been argued - who did Chicago ever influence? A point could be made that they gave a boost to the growth of latin influences in 70s and 80s pop with their Caribou sound. But the thing that makes X different than CTA - V, is that the guys are just having flat-out fun. They thumb their noses at the stoners and say, "We're going to play what we want to play." I am tired of the old, worn out cliche of this being the beginning of the ballad era. Hogwash! When did the Beatles ever get criticized for recording "And I Love Her," or "Michelle," or "Something"? It's called musical diversity! Get off your high horses and enjoy it! This album is almost a 5-star. When I bought it in 1976, I was thrilled with every cut, thinking to myself "Good, they're finally getting back to their real sound!" Every music lover should have this CD - and they should LIKE it!
	Chicago - Chicago VIII [Remaster]
	"With Bonus Tracks, The Album Is Finally Complete"	2006-06-15
I love these bonus tracks. Chicago VIII had always seemed to be missing something to me. After the epic Chicago VII, this effort was, to put it mildly, underwhelming. I disagree that it had turned the corner to too much "pop". Anyway You Want and Thank You Great Spirit are worthy rockers. And a lot of people seem not to get Harry Truman. It's a tongue-in-cheek retro song, a la Your Mother Should Know by the Beatles. The production throughout is seamless - nearly perfect crafting. The problem is that it all just seems, well, flat. Chicago is a rock-jazz band. You must not follow VII with straight middle of the road rock-pop. But the three bonus tunes fix that once and for all. And I love Satin Doll. Get over it, folks, and just enjoy it! With the bonuses, Chicago VIII can finally almost attain the heights of VII. A word, too about the absence of horns. It always surprised me that the purists didn't get that Hideaway and TYGS are a look back to the classic power quartet songs that everybody loves so much from CTA thru Carnegie Hall. It definitely is Chicago! Laudir is now a full member of the band. They continue to create amid the altitudes of the Rockies, and here, in the middle of their second era, the boys are doing nothing if not having fun. Don't be so serious, everybody! Drop in Chicago VIII, sit back, relax, and smile! I recommend this album for all music lovers.
	Chicago - Chicago VII [Remaster]
	"Chicago's "White Album""	2006-06-14
Chicago VII is the first album to present songs written by every one of the members. Each member stretches a little, too, sometimes bringing in his own session musicians, hence my tag of "White Album". It is because you see the individuality of every member, and not so much the pure full ensemble found in the first six albums, that this album is so well-liked and fresh. It is still Chicago, but there are some differences and trends. First - Peter Cetera is the primary lead singer for the first time. Three of them are ballads that did well in the charts. One is a ballad without any horns, foreshadowing his solo career. Second - Chicago is clearly well into their latin period now. Laudir de Oliveira is a real presence on this album, while not being listed as a member yet. Their raw rock sound of CTA - VI is diminished, but the latin era is here, and a lot of people love it. Third - Lee Loughnane's raspy first lead vocal and his voice added prominently to the backgrounds on several tracks is a sort of look ahead to the vocal sounds of the Champlin era. Fourth - The only song to feature only The Original Seven on it is "Women Don't Want To Love Me" - the weakest track on the entire album. Fifth - Robert Lamm is beginning to hand over the creative reigns. His time is split between this album and his first solo album - for which several very good songs that could have been pitched to Chicago are recorded. He is not the creative monster he had been in prior albums. This was the first Chicago album I bought after becoming a fan in 1973. I anticipated it for months. I bought it the first day it appeared in the stores, and when I played it I remember that a number of things disappointed me - I didn't like the congas, the strings, the extra singers and instrumentalists. There weren't enough horns and extended solos. I listened to the entire album, hoping with each track that one of the songs would be like Make Me Smile, or Now That You're Gone. It never happened. As I have grown older, I have come to love it. It is Chicago's only true epic album, not just because it was a double, but because it sprawls all over the musical landscape. To me - they are no longer a "Chicago" band, but more of a west coast band with this album. Their skill at making records shows. It is indeed their last experimental album. After this, you will hear a lot more fun and maturity in their product. 32 years later - I listen to it now and appreciate it more than ever. I even like "Women Don't Want To Love Me". It is the last track on any album to have only The Original Seven. Listen to the relentless instrumental breaks. Yeah, this song makes it. It is a fitting farewell to the groundbreaking style that burst upon the scene in 1970. But an epic is not necessarily a five-star. That is reserved only for Chicago's very best albums. This is an excellent album, but not one of the best. I recommend it for every music fan, not just fans of Chicago.
	Chicago - Chicago VI [Remaster]
	"Chicago's Second Era"	2006-06-12
I like to think of Chicago in terms of eras. Albums 1 -5 were the first: recorded in NYC, more free form, experimentative, raw and rather undisciplined. They were still learning their craft, but creatively were unstoppable. With VI, they move to the higher altitudes of the Caribou Ranch for inspiration. It makes a difference. It has been said that they became more "pop" about now. But I would disagree slightly. All artists ultimately seek long term respectability for themselves, once they have attained the heights that Chicago had in the early 70s. If it comes out "pop" to some, so be it. The thin air of the mountains worked. Out comes Chicago VI, more introspective and poetic than any of their prior offerings. They have become better at their craft, and know how to write songs with great hooks and riffs. Not more pop, really . . . more mature. Chicago now has more depth and breadth spread out over a single disc. Terry Kath and Robert Lamm sing more softly now, about things more personal and painful. Peter Cetera asserts himself and explores the edges of folk-country. And to demonstrate their hit-making prowess, Feeling Stronger Every Day and Just You 'N' Me provide an optimistic and catchy jolt in a way no previous album could (including V). It is Chicago's first conga-heavy album, another indicator that their second era has begun. Laudir de Oliveira will soon become the first alteration to the Original Seven. The next Chicago era will be more fun, playful, predictable (and that's not all bad), and professional than the first era. This was the first Chicago album I had ever bought, as a 12-year old in 1973. For that reason it is a special album to me. I loved it then, and love it now. Yet - as a whole this is not a 5-star, which is only reserved for albums like Chicago V and Sgt Pepper. You need not be a Chicago fan to enjoy this album. It is for everybody.