Chicago VII [Original recording remastered]

Product Description
Expanded and Remastered, features the original double-album's 15 jazzy pop tracks, including the hits '(I've Been) Searchin' So Long,' 'Wishing You Were Here' and 'Call On Me.' Also includes the bonus track 'Byblos' (rehearsal version). Rhino. 2002.

Chicago VII,Chicago,Rhino / Wea,Adult Contemporary,Pop,Pop/Rock,Popular Music,Rock,Rock/Pop,Soft Rock

Chicago VII [Original recording remastered]

Average customer rating:

Breezy, laid back and optimistic
A NICE RHINO REISSUE, A WONDERFUL RECORDED GEM, CHICAGO VII IS AN AMAZING JAZZFULL JOURNEY
Magnum Opus...Chicago Style
yes, the last Chicago album worth listening to
Chicago's Best

Chicago VII
Chicago
Manufacturer: Rhino / Wea
ProductGroup: Music
Binding: Audio CD

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Chicago VI
Chicago V
Chicago VIII
Chicago III
Chicago II (Repackaged)

ASIN: B00006LJ6X
Release Date: 2002-11-05

Tracks:

Prelude To Aire
Aire
Devil's Sweet
Italian From New York
Hanky Panky
Life Saver
Happy Man
(I've Been) Searchin' So Long
Mongonucleosis
Song Of The Evergreens
Byblos
Wishing You Were Here
Call On Me
Women Don't Want To Love Me
Skinny Boy
Byblos (Rehearsal)

Album Description

Expanded and Remastered, features the original double-album's 15 jazzy pop tracks, including the hits '(I've Been) Searchin' So Long,' 'Wishing You Were Here' and 'Call On Me.' Also includes the bonus track 'Byblos' (rehearsal version). Rhino. 2002.

Customer Reviews:

Breezy, laid back and optimistic.......2007-07-21

I have said it in other reviews of classic Chicago albums, and it's true for Chicago VII as well: the tunes I avoided in my youth (in the case the cusp between high school and college) are much more interesting to listen to now that I am "mature." Whereas I used to love the big, bold and brassy, I can better appreciate the jazzy and the inventive. Both kinds of music are well-represented on this wonderful album.

The first side has no hits, but abounds with music that showcases Chicago as a mega-talented ensemble. The album start with "Prelude to Aire" a Satie/funk fusion piece that features Walt Parazaider's flute and showcases some very expressive melodic bass playing - what Peter Cetera always did best. "Aire" is a standard Chicago instrumental -- horn-heavy and urban-flavored - featuring some excellent Terry Kath guitar solo work "Devil's Sweet" is an experimental jazz piece that features everything from a sweet sax-trumpet duet to meditative solo drum work to hard driving space music. The unfortunately-titled "Italian from New York" is an interesting, unpoppy experimental piece that starts out with a synthesized repeating riff whose beeps and boops - the kind R2D2 would later make famous in "Star Wars" - are built upon by the rest of the band. The album's solid jazz section ends with "Hanky Panky," another hard driving jazz piece that features Jim Pankow - one of the best trombonists in the business - doing phenomenal ad lib solo work.

The entire album (all fours sides for those with phonographic memories) abounds with a sense of light and easy optimism and relaxed joy. There's little of the unrelenting heaviness of Chicago VI, with its leaden hits ("Feelin' Stronger Every Day" has all the charm of King Kong rampaging the downtown) and its downbeat take on life. Even the names are lighter - "Aire," "Lifesaver," "Hanky Panky." Whatever happened between Chicagos VI and VII should be bottled and sold on street corners.

The album's hits are sweet and fully formed. "I've been Searchin' So Long" (what does this band have about droppin' its `g's?) is an almost religious rhapsody about finding meaning in one's life. The form of meaning is unspecified, and there is something uncomfortably cult-like about it. The line, "When my days have come to an end I will understand what I left behind - part of me" seems to hint at some kind of afterlife, but what kind (philosophical, traditional religious or New Age) is anyone's guess. Regardless, the horn parts are subdued, in keeping with the prayerfully ecstatically tone of the piece. "I've Been Searchin'" segues into the party-fully ecstatic rhythms of Mongonucleosis, an infectious salsa piece that will have dance and shout "Que pe chesa!" (whatever that means) along with the band.

At this point, the album stalls briefly with a couple of Terry Kathy songs. "Song of the Evergreens" aspires to be a song about the beauty and serenity of natural the world, but only manages to be a song about skiing. The final lyric, "Snow! Snow! Snow!" is repeated endlessly and seems more suited to a Perry Como holiday special than ajazz-rock album. "Byblos" is musically interesting but lyrically weak. Kath starts daringly enough with an acoustic introduction that builds throughout the tune. The tune's narrative is an startlingly unpoetic description of Kath's meeting with a woman in Byblos, evidently a bar. Kath seems simply to have described each step of the encounter ("Then, soon she had to go; I sat there all alone and thought of things she said the whole day through. And then I realized I never took the time to find out where she lived...") and put them to music. I hate to speak ill of the dead, but vapid lyrics like these probably would have stopped any thoughts of a Kath solo career in their tracks. Definitely listen to these two pieces, but pretend not to understand English.

The album soon recovers with two of the bands' big hits. "Wishin' You Were Here" (there goes the "g" again!) -- one of Peter Cetera's best efforts -- is a sweet, lyrical and wistful and sung with the Beach Boys. "Call on Me" by trumpeter Lee Loughnane has a driving beat and wonderfully open and clear horn fanfare. The lyrics tell the hackneyed story of a breakup, but the upbeat tone dispels any sadness the story might have carried.

The album ends with a couple of Robert Lamm pieces. "Woman Don't Want to Love Me" has a driving beat that drives along, accompanied by horns and Terry Kath's waa-waa guitar. "Skinny Boy" is better than in ought to be, thanks to Jim Pankow's horn arrangement and backup work by the wonderful Pointer Sisters. Lamm reprised this piece (sans horns) on his solo album and it was a disaster. "Shows to go ya" that the strength of Chicago as an ensemble.

The CD extra is a rehearsal for Kath's "Byblos" -- accompanied by bass drums, congas and organ but lacking the overdubbed guitar solo and backup vocals on the album track. The track is more quickly paced than the album version, but otherwise is a fairly well-realized version of the piece whose shortcoming I discussed earlier.

Chicago VII is a completely different animal than its dour-sour predecessor. In my experience, this album is the high point of the later half of Chicago's period with Terry Kath. After this, with the exception of terrific pieces like "Mississippi Delta City Blues" on Chicago XI, the band slipped into pop-encrusted irrelevance, as far as I was concerned. Chicago VII is the last time the original band was together, producing the jazz/pop fusion that made it famous and moving in interesting new directions. A terrific addition to any Chicago fan's collection.

A NICE RHINO REISSUE, A WONDERFUL RECORDED GEM, CHICAGO VII IS AN AMAZING JAZZFULL JOURNEY.......2007-01-15

Released in March 1974, and reached number one quickly, spawned three hit singles. Chicago already an established group by 1973 wanted to make Chicago VII a jazz album. This album has jazz mixed in with rock and was quite creative as Chicago pulled this experiment off. Believe me, there is no filler tracks on this cd. The first five songs take you on an instrumental joyride my favorite "Devil's Sweet" clocks in at about ten minutes. Terry Kath has a brilliant moment with "Byblos". "Call On Me" is another favorite that really is catchy with a Jazz rythem and of course "I've Been Searchin For along time" with its suspensful long instrumentation. Chicago VII is really a brilliant unappreciated gem. Every lyric and instrument is precisly placed in this well produced album. Remember Chicagos golden years of recording 1969-1979 were produced by James William Guerico. Fifteen tracks of pure 1970s bliss including the extra sixteenth track "Byblos"(rehearsel). The literature booklet supplied with cd is very informal and must be read to fully appreciate this amazing recording. Rhino does an excellent job on this reissue, if you love Chicago do yourself a favor and get all the Chicago Rhino remastered reissues it is worth it. Chicago VII a brilliant unappreciated Chicago recording.

Magnum Opus...Chicago Style.......2006-12-09

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

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

yes, the last Chicago album worth listening to.......2006-10-16

As several people have said, this was the last interesting Chicago album (unless you like the sappy ballads that made them so much cash during the 80s) . . . At its best, this album is really exciting and fresh. The instrumental music holds up better than most of the jazz/rock fusion of the 70s, and the pop songs are among their strongest. On the negative side, there are, as on most double albums, two or three weak songs. The other negative is that, in listening to the pop songs--even the good ones--you can hear the direction they were headed in. No more experimentation, no more fun. Maybe it was unrealistic to think a band could continue being this schizophrenic.

Chicago's Best.......2006-06-25

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

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

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

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

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

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

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

Jacqueline du Pré - The Concerto Collection

Average customer rating:

Wonderful Concerto Performances
Lacks the "real" Elgar!
The real du Pre, but not the *real* Elgar performance!!!
Great performances, by one of the greatest cellists!
a fitting memorial to a unique artiste

Jacqueline du Pré - The Concerto Collection
Edward Elgar , Joseph Haydn , Antonin Dvorak , Luigi Boccherini , Robert Schumann , Frederick Delius , Georg Mathias Monn , Richard Strauss , English Chamber Orchestra , Sir John Barbirolli , Daniel Barenboim , Chicago Symphony Orchestra , Jacqueline du Pré , London Symphony Orchestra , Sir Adrian Boult , New Philharmonia Orchestra , Herbert Downes , and Desmond Bradley
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Daniel Barenboim, Pinchas Zukerman & Jacqueline du Pré - Beethoven: Piano Trios
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Jacqueline du Pre - Favourite Cello Concertos ~ Boccherini, Dvorak, Elgar, Haydn, Monn, Saint-Saens, Schumann
Jacqueline du Pré - Chopin: Cello Sonata in G minor, Franck: Sonata in A / Barenboim
Jacqueline du Pré - a lasting inspiration

ASIN: B00004RIU5
Release Date: 2000-06-06

Tracks:

Cello Concerto No. 1 In C Hob.VIIb:1: I. Moderato - Cadenza
Cello Concerto No. 1 In C Hob.VIIb:1: II. Adagio - Cadenza
Cello Concerto No. 1 In C Hob.VIIb:1: III. Allegro molto
Cello Concerto No. 2 In D Hob.VIIb:2: I. Allegro moderato - Cadenza
Cello Concerto No. 2 In D Hob.VIIb:2: II. Adagio
Cello Concerto No. 2 In D Hob.VIIb:2: III. Rondo (Allegro) - Cadenza
Cello Concerto In B Flat: I. Allegro moderato - Cadenza
Cello Concerto In B Flat: II. Adagio non troppo
Cello Concerto In B Flat: III. Rondo (Allegro) - Cadenza

Tracks:

Cello Concerto In A Minor Op. 129: Nicht zu schnell
Cello Concerto In A Minor Op. 129: Langsam - Etwas lebhafter - Schneller
Cello Concerto In A Minor Op. 129: Sehr lebhaft - (Cadenza) - Im Tempo - Schneller
Cello Concerto No. 1In A Minor Op. 33: Allegro non troppo
Cello Concerto No. 1In A Minor Op. 33: Allegretto non troppo
Cello Concerto No. 1In A Minor Op. 33: Un peu moins vite
Cello Concerto In G Minor: I. Allegro
Cello Concerto In G Minor: II. Adagio
Cello Concerto In G Minor: III. Allegro non tanto

Tracks:

Cello Concerto In B Minor Op. 104: I. Allegro
Cello Concerto In B Minor Op. 104: II. Adagio ma non troppo
Cello Concerto In B Minor Op. 104: III. Finale (Allegro moderato)
Silent Woods Op. 68
Cello Concerto: Lento
Cello Concerto: Con moto tranquillo
Cello Concerto: Lento
Cello Concerto: Con moto tranquillo
Cello Concerto: Allegramente

Tracks:

Cello Concerto In E Minor Op. 85: I. Adagio - Moderato
Cello Concerto In E Minor Op. 85: II. Lento - Allegro molto
Cello Concerto In E Minor Op. 85: III. Adagio
Cello Concerto In E Minor Op. 85: IV. Allegro - Moderato - Allegro, ma non troppo
Don Quixote: Introduction (Massiges Zeitmass)
Don Quixote: Theme: The Knight Of The Mournful Countenance (Massig)
Don Quixote: Variation I: The Adventure With The Windmills (Gemachlich)
Don Quixote: Variation II: The Battle With The Sheep (Kriegerisch)
Don Quixote: Variation III: Discourse Between Knight And Squire (Massiges Zeitmass)
Don Quixote: Variation IV: The Adventure With The Pilgrims (Etwas breiter)
Don Quixote: Variation V: The Knight's Vigil (Sehr langsam)
Don Quixote: Variation VI: The Meeting With Dulcinea (Schnell)
Don Quixote: Variation VII: The Ride Through The Air (Ein wenig ruhiger als vorher)
Don Quixote: Variation VIII: The Voyage In The Enchanted Boat (Gamachlich)
Don Quixote: Variation IX: The Combat With The Two Magicians (Schnell und sturmisch)
Don Quixote: Variation X: The Defeat Of Don Quixote (Viel breiter)
Don Quixote: Finale: Don Quixote's Death (Sehr ruhig)

Customer Reviews:

Wonderful Concerto Performances.......2006-11-17

Of the six or seven cd albums that I have by Jacqueline du Pre, this album contains the meat and potatoes of du Pre's repertoire. Happily, she doesn't disappoint at a time when she was still physically healthy and developing musically. The Boccherini Concerto arranged by Grutzmacher, I believe she owns. The Monn Concerto is excellent and the Delius is a romantic dream. Don't miss this one, if you want hear the breadth of her short-lived talent.

Lacks the "real" Elgar!.......2005-04-28

Like other reviewers, I just want to say that this set lacks the famous Elgar recording by Jackie Du Pre. The Elgar performance on this CD is dull in comparison to her more famous performance. So, you will have to buy a separate CD for the Elgar. Other than that, this is a great set to have. I love the two Haydns especially.

The real du Pre, but not the *real* Elgar performance!!!.......2003-03-04

This is a comprehensive collection of Cello performances by a thrilling artist. Unfortunately, despite reviewer MacFarlane's assurances to the contrary, the producer of this CD has failed to include Jacqueline du Pre's *famous* and greatest performance of the Elgar Cello, and this is the reason for witholding a star. Ms.du Pre's famous performance of Elgar's Cello Concerto, Opus 85, was performed live in Philadelphia on November 27-28, 1970, with conductor-husband Daniel Barenboim, not Conductor Barbiroli. This Amazon review, comparing the two performances will indicate why this CD loses points for not featuring the Barenboim performance: < > The performance with Barenboim was formerly available on Sony. Today the Amazon search engine only turned it up one time in six search attempts using the SAME words! Elusive, but an essential recording nonetheless! Because confusion persists between the Elgar performances and conductors, it is necessary to persist in citing that it is Jacqueline Du Pre's performance with BARENBOIM which is so revered. Besides, the Sony disc which has the favored performance with conductor Barenboim, is also known for Barenboim's brilliant interpretation of the Elgar Enigma Variations. Daniel Barenboim's talent is becoming more and more visible and worthy of following closely. He's doing great things outside of music as well, so put his name in the Google search engine and find out!

Great performances, by one of the greatest cellists!.......2001-04-29

If there is one word for describing Jacqueline du Pre, it is MUSIC. She was the embodiment of music itself, because she gave all to the music she played. Some do not like her playing because it is too emotional. I echo the other reviewer's sentiments in that music is there to be played. Played with emotion. Music is about transmitting emotion to the listener, and du Pre was one of the best examples of how that could (and should) be done. Here, EMI has remastered and reissued most (I say most, because one concerto - the Lalo- has been omitted in this otherwise full compilation of du Pre's concerto recordings) of du Pre's concerto recordings. The Haydn concerto in C, is undoubtedly one of the most touching accounts, with its romantic sentiments. The same can be said of the Haydn in D and the Monn concerti, with the broad tempi, quite relaxed, and very opposite of Period performances Completely incorrect stylistically, but the performances are so moving and involved that all the fuss about stylistic correctness is throuwn out the window. I dare say that one is not going to get a more impassioned account of the Haydn C major concerto. It is among my absolute favourites. The Boccherini concerto is another matter. The version du Pre plays is not the original, but a mixture of the original, with bits borrowed from other Boccherini cello concertos, combined with Romantic styling by Grutzmacher (the 'editor' of the concerto). I don't like it as much as the Haydn concertos, but still it receives a bravura performance by du Pre with the English Chamber Orchestra under Barenboim. The Schumann and Saint-Saens concerti are unsurpassed for their passion and imaginativeness. The Schumann is tragic, but ends triumphantly, in a way that only du Pre could make it sound like that. The Saint-Saens is a less musically significant piece, but in du Pre's hands, it sounds like an important work. Dvorak's cello concerto is one of the greatest pieces in the cello repertoire, with its grand writing and poignancy. While du Pre's Dvorak concerto is not the best version one can buy, for the recording quality is notoriously horrible, with the orchestra sounding so distant from the cellist (who is placed far too forward) it is certainly one of the most outspoken and yes, impassioned accounts, interpretation-wise. Emotionally, it outdoes the justly famous Rotropovich/Karajan version. But the other Dvorak piece in this collection, the Silent Woods, is so touching that one is bound to cry at some stage of the 6-minute piece. The Delius concerto is a very rhapsodic, but a very engmatic one. Technically it is very demanding, because for once the technical difficulties are really due to the musical difficulties. It is hard to make sense of the work unless you are absolutely sure of its musical structure. But du Pre makes this sound easy, fully capturing the rhapsodic nature of the work, and sings beautifully. It was du Pre's first concerto recording, under one of the most arrogantly aristocratic conductors (arrogant to soloists, I mean, as he didn't regard them highly. But for du Pre, he was more than generous), Malcolm Sargent. The Elgar had to be included, didn't it? I mean, it is one of the great classics of the century. So there is nothing more to say about the Elgar. The Strauss tone-poem Don Quixote is a strange work, because it has a solo cello part (with a solo vioin and viola, who are usually members of the orchestra), a solo part that can be a soloist or the principal cellist from the orchestra cello section. It is strange, because the cello part is the most significant solo part, yet 80 per cent of the time it is outplayed by the orchestra, because the 'solo' cello plays the part of the orchestral cello section. But as to this performance, it was a run-through for a concert. Klemperer was supposed to be the conductor but he pulled out at the last minute and Boult was engaged. This historical recording does not sound like a run-through, although it si a bit messy at times ensemble-wise. But du Pre plays with absolute commitment. Her playing of the Finale must be one of the most poignant ever. The conductor's 'bravo' and the unanimous applause of the orchestra adds to the magic. I apologise for the long review, but if you have read this far, then I will say if you like du Pre and the cello, then this set is essential, and at mid price for CDs that would otherwise be full price and in single CDs, it is a bargain.

a fitting memorial to a unique artiste.......2001-02-09

The keyword with Jacqueline du Pre was always involvement, and so it is here. The performances in this collection are riveting. The Elgar, of course, is one of the most famous performances of all time - young cellist Du Pre with former cellist Barbirolli reaching to the absolute heart of this wonderful music. Though she plays with utmost and unvarying conviction throughout - and therefore these are not middle-of-the-road performances, and it is possible to sense a hothouse element in them as I do in the Haydn and the Monn, where stylistically she is far from faultless - the conviction, sincerity, guts and beauty of the playing carry you (and her) through. Curiously affecting is the end of 'Don Quixote', in a recording, with a bizarre history, which we are really very lucky to have (you can read about it in the set). At the end of a fine and fully characterised run-through, which is all it was, never meant to be issued, she plays with amazing poignancy the touching postlude. The performance ends, the counductor (Boult) shouts 'bravo' and the orchestra claps - it's all there, and we think of poor, wonderful Jacqueline, who never played a dishonest or uncommitted note, we are touched, and we are glad we bought this set!

Average customer rating:

Mostly valuable for the sonatas & suites
wonderful
Great record of Great cellist at Great budget price
A Great Compilation of Great Cello Music
Wonderful! Indispensable! So why only four stars..?

Les introuvables de Jacqueline du Pré
Edward Elgar , Frederick Delius , Camille Saint-Saens , Antonin Dvorak , Robert Schumann , Arnold Schoenberg , Franz Joseph Haydn , Fryderyk Chopin , Cesar Franck , Gabriel Faure , Max Bruch , Johann Sebastian Bach , George Frideric Handel , Ludwig van Beethoven , London Symphony Orchestra , Royal Philharmonic Orchestra , New Philharmonia Orchestra , Chicago Symphony Orchestra , Sir John Barbirolli , Malcolm Sargent , Daniel Barenboim , Jacqueline du Pré , Valda Aveling , English Chamber Orchestra , Gerald Moore , Ernest Lush , and Stephen Kovacevich
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Brahms: Cello Sonatas [includes bonus DVD]
Jacqueline du Pre In Portrait
Jacqueline du Pré - The Concerto Collection
Brahms: Cello Sonatas
Jacqueline du Pré - a lasting inspiration

ASIN: B000002SCC
Release Date: 2002-08-05

Tracks:

Concerto pour violoncelle et orchestre en mi mineur: In E Minor, Op. 85: I. Adagio - Moderato
Concerto pour violoncelle et orchestre en mi mineur: In E Minor, Op. 85: II. Lento - Allegro molto
Concerto pour violoncelle et orchestre en mi mineur: In E Minor, Op. 85: Adagio
Concerto pour violoncelle et orchestre en mi mineur: In E Minor, Op. 85: IV. Allegro, ma non troppo
Concerto pour violoncelle et orchestra: Lento - Con moto tranquillo - Lento - Con moto tranquillo - Allegramente
Concerto pour violoncelle et orchestre n 1 en la mineur: In A Minor, Op. 33: I. Allegro non troppo
Concerto pour violoncelle et orchestre n 1 en la mineur: In A Minor, Op. 33: II. Allegretto con moto
Concerto pour violoncelle et orchestre n 1 en la mineur: In A Minor, Op. 33: III. Allegro non troppo

Tracks:

Concerto pour violoncelle et orchestre en si mineur: In B Minor, Op. 104: I. Allegro
Concerto pour violoncelle et orchestre en si mineur: In B Minor, Op. 104: II. Adagio ma no troppo
Concerto pour violoncelle et orchestre en si mineur: In B Minor, Op. 104: III. Finale (Allegro moderato)
Concerto pour violoncelle et orchestre en si mineur: In B Minor, Op. 104: Waldesruhe (Silence Woods.) pour violoncelle et orchestre, Op. 68
Concerto pour violoncelle et orchestra en la mineur: In A Minor Op. 129: I. Nicht zu schnell
Concerto pour violoncelle et orchestra en la mineur: In A Minor Op. 129: II Langsam - Etwas lebhafter - Schneller
Concerto pour violoncelle et orchestra en la mineur: In A Minor Op. 129: III Sehr lebhaft - Cadenza - Sehr lebhaft

Tracks:

Concerto pour violoncelle et orchestra en sol mineur: I. Allegro
Concerto pour violoncelle et orchestra en sol mineur: II. Adagio
Concerto pour violoncelle et orchestra en sol mineur: III. Allegro non tanto
Concerto pour violoncelle et orchestra en re majeur, Hob. VIIb:2: I. Allegro moderato
Concerto pour violoncelle et orchestra en re majeur, Hob. VIIb:2: II. Adagio
Concerto pour violoncelle et orchestra en re majeur, Hob. VIIb:2: III. Rondo (Allegro)
Concerto pour violoncelle et orchestre en ut majeur, Hob. VIIb: 1: I. Moderato
Concerto pour violoncelle et orchestre en ut majeur, Hob. VIIb: 1: II. Adagio
Concerto pour violoncelle et orchestre en ut majeur, Hob. VIIb: 1: III. Allegro molto

Tracks:

Sonate pour violoncelle et piano en sol mineur, Op. 65: I. Allegro moderato
Sonate pour violoncelle et piano en sol mineur, Op. 65: II. Allegro con brio
Sonate pour violoncelle et piano en sol mineur, Op. 65: III. Largo
Sonate pour violoncelle et piano en sol mineur, Op. 65: IV. Finale (Allegro)
Sonate pour violoncelle et piano en la majeur: I. Allegro ben moderato
Sonate pour violoncelle et piano en la majeur: II. Allegro
Sonate pour violoncelle et piano en la majeur: III. Recitativo - Fantasia (Molto lento)
Sonate pour violoncelle et piano en la majeur: IV. Allegretto poco mosso
Elegie en ut mineur, Op. 24
Kol nidrei, Op. 47

Tracks:

Suite pour violoncelle seul No. 1 en sol majeur, BWV 1007: I. Prelude
Suite pour violoncelle seul No. 1 en sol majeur, BWV 1007: II. Allemande
Suite pour violoncelle seul No. 1 en sol majeur, BWV 1007: III. Courante
Suite pour violoncelle seul No. 1 en sol majeur, BWV 1007: IV. Sarabande
Suite pour violoncelle seul No. 1 en sol majeur, BWV 1007: V. Menuetto I & II
Suite pour violoncelle seul No. 1 en sol majeur, BWV 1007: VI. Gigue
Suite pour violoncelle seul No. 2 en re mineur, BWV 1008: I. Prelude
Suite pour violoncelle seul No. 2 en sol majeur, BWV 1008: II. Allemande
Suite pour violoncelle seul No. 2 en sol majeur, BWV 1008: III. Courante
Suite pour violoncelle seul No. 2 en sol majeur, BWV 1008: IV. Sarabande
Suite pour violoncelle seul No. 2 en sol majeur, BWV 1008: V. Menuetto I & II
Suite pour violoncelle seul No. 2 en sol majeur, BWV 1008: VI. Gigue
Sonate pour violoncelle et piano en sol mineur: I. Grave
Sonate pour violoncelle et piano en sol mineur: II. Allegro
Sonate pour violoncelle et piano en sol mineur: III. Sarabande
Sonate pour violoncelle et piano en sol mineur: IV. Allegro
'Judas Maccabaeus' de Haendel, en sol majeur, woO.45: Variations sur le theme 'See, The Conqu'ring Hero Comes

Tracks:

Sonate pour violoncelle et piano No. 3 en la majeur, Op. 69: I. Allegro ma non tanto
Sonate pour violoncelle et piano No. 3 en la majeur, Op. 69: II. Scherzo (Allegro molto)
Sonate pour violoncelle et piano No. 3 en la majeur, Op. 69: III. Adagio cantabile
Sonate pour violoncelle et piano No. 3 en la majeur, Op. 69: IV. Allegro vivace
Sonate pour violoncelle et piano No. 5 en re majeur, Op. 102 No. 2: I. Allegro con brio
Sonate pour violoncelle et piano No. 5 en re majeur, Op. 102 No. 2: II. Adagio con molto sentimento d'affeto
Sonate pour violoncelle et piano No. 5 en re majeur, Op. 102, No. 2: III. Allegro - Allegro fugato
7 Variations sur le theme Bei Mannern, welche Liebe fuhlen': 'La Flute enchantee' de Mozart, en mi bemol majeur Es-dur, Op.66
12 Variations sur le theme 'Ein Madchen oder Weibchen': 'La Flute enchantee' de Mozart, en fa majeur, Op.66

Amazon.com

Although most of this set is devoted to major cello concertos (Elgar, Saint-Saëns, Dvorák, Schumann, Haydn) that Du Pré played so well, perhaps the most treasurable recording is one of two Beethoven cello sonatas with the pianist Stephen Bishop (Kovacevich). Recorded very early in her career, these show Du Pré at her most eloquent, the early promise of a great career so cruelly interrupted. This set includes most of the cellist's best recordings. Too bad it's not 10 times the size. If the cellist's passion occasionally seems excessive, at least it's the right kind of flaw to have. --Leslie Gerber

Customer Reviews:

Mostly valuable for the sonatas & suites.......2002-07-02

Although Jackie du Pre's playing in the Elgar, Delius and Schoenberg concerti was superb, I for one simply find nothing to admire in that music. Perhaps this is my fault, perhaps not, but in general there are so many superb recordings of the Haydn and Dvorak concerti that only the sentiments surrounding her decline into MS and early death recommend them.

On the other hand, the recordings of the Chopin, Beethoven and other sonatas in the second 3 discs of this set are among the most moving recordings ever made. Jackie never had quite the golden tone or perfect technique of Feuermann or Yo-Yo Ma, and this shows itself more in the Bach unaccompanied cello suites where she plays a few scratchy-sounding turns, but the deep-down love and emotional commitment of her playing always communicated itself effectively. In short, then, I recommend this set for the sonatas & suites, but if you also enjoy these concerto recordings, you will love it all.

wonderful.......2001-04-22

this is a wonderful recording of some of the best cello music played by one of the worlds best cello players, the late jacqueline du pre. jackie had magic in her fingertips and listening to these recordings is pure joy, one of the best set I had the chance to hear.

Great record of Great cellist at Great budget price.......2000-11-04

The collection dosen't have Brahms's Cello Sonatas. But you picture her portrait by these 6 CDs( The cost is 7 dollars or less per one CD ). If you don't know what kind of cellist she was--yet, I want you to get it.

You would meet extraordinary emitted passion by Du Pre in Elgar( needlees to say, it is one of her most famous performance), Saint-Saens, Dovrak( in spite of unskillful conducting of Barenboim), Schumann. The set has not only her famous performance of the Concertos in disk 1-3, but also various Sonatas( Barenboim makes excellent piano playing in good harmony with his wife more than support) in disk 4-6.

Furthermore, the Bach's Cello Suite No.1 and No.2, as her only solo performance in this collection, are very interesting. Its passionate Bach(!!) is certainly like Du Pre.

Thanks EMI FRANCE for the great work!!

A Great Compilation of Great Cello Music.......2000-07-26

This collection, composed of the great works for the cello, is a must have in any serious classical music fan's library. It is an even better collection for the "newbie" to the genre. Jacqueline du Pre was undoubtedly one of the greatest artist of the century and her passion is well documented in this collection. Just get it...if you like classical music...you'll like this collection and the price is great too. What's to lose?

Wonderful! Indispensable! So why only four stars..?.......2000-03-19

This is definitely worth getting, and Amazon's price is right. Du Pre was one of the greatest ever (Yo-Yo Ma now owns her cello, in case any of you play Classical Music Trivial Pursuit), and I cry inwardly when I think of her early death. The Elgar Concerto alone on this set is enough to justify the purchase price. After she died, several "name" conductors vowed they would never perform or record it again with anybody, so strong was their memory of her. So why only four stars here? Two reasons: some of these performances are with hubby Daniel Barenboim conducting, and they just aren't quite in the same league as the other efforts. Just compare the Barbirolli Haydn and the Barenboim Haydn to see what I mean: both are slow-tempoed, and neither would be my top-drawer choice. But Barbirolli *almost* makes it work, and has a certain perverse logic, whereas DB is just dull and colorless and square. The second defect is the remastered sound, which oftentimes is not very good. Sure these are "historic" recordings, but they're not that old, most are stereo. Still, the sound is flat and clipped at the high end. This should not dissade anyone from getting this set, however. Just don't expect a sonic demo disc. You will get thrilling cello playing across a broad selection of repertoire.

Stravinsky: Le Sacre du Printemps, Debussy: La Mer, Boulez: Notations VII

Average customer rating:

Some flaws..
Amazing
Pretty Amazing
Surprising

Stravinsky: Le Sacre du Printemps, Debussy: La Mer, Boulez: Notations VII

Manufacturer: Teldec
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music
Similar Items:

Mahler: Symphony No5
Tchaikovsky: Symphony No. 4
Mahler: Symphony No. 7

ASIN: B000059QW2
Release Date: 2001-11-06

Tracks:

Stravinsky: Le Sacre Du Printemps: Premiere Partie: L'Adoration De La Terre
Stravinsky: Le Sacre Du Printemps: Deuxieme Partie: Le Sacrifice
Debussy: La Mer-Trois Esquisses Symphoniques: De L'Aube A Midi Sur La Mer
Debussy: La Mer-Trois Esquisses Symphoniques: Jeux De Vagues
Debussy: La Mer-Trois Esquisses Symphoniques: Dialogue Du Vent Et De La Mer
Boulez: Notations VII

Amazon.com

This selection of 20th-century works is perfectly designed to display a virtuoso orchestra in all its glory. The music glows and glitters with a myriad colors, exploits every imaginable instrumental effect, and offers many solo opportunities to all the principal string and wind players. The program also requires a virtuoso conductor, especially the Stravinsky, with its extraordinary, previously unprecedented rhythmic irregularities, its massed sonorities, its cumulative sense of tension, and its driving, pent-up energy that explodes intermittently. No wonder the 1913 Paris premiere of Printemps caused the most famous riot in musical history and spread Stravinsky's name across the world. Barenboim's performance has enormous sweep and a sort of controlled wildness, with tremendously exciting rhythmic incisiveness, great crashing climaxes, and wonderful wind playing in the lyrical parts.

The Debussy, based on fond recollections of childhood summers the composer spent at the seaside, is all color: three almost visual evocations of the glittering water, the sparkling play of the waves and the wind, the glowing sky, and the final glorious sunrise with the violins shimmering above grand brass sonorities. The Boulez is also full of color effects, with glassy, thin sounds, but it seems more like an abstract painting. Composed when he was 21, it was part of a set of 12 very brief piano pieces, which he expanded and orchestrated 30 years later; this one was commissioned and premiered by the Chicago Symphony in 1999. Based on short figures and motives, it is called "Hiératique" and described as formal and stylized; the composer asks that it be played slowly and steadily, but not rigidly. The playing throughout is fabulous. --Edith Eisler

Customer Reviews:

Some flaws.........2006-02-02

I always find it amazing that record companies, in this case Teldec, don't take the little extra effort to turn a good product into a great one. In this case their error was to not split The Rite of Spring into 11 tracks for each of the subparts like everyone has done (this recording has only two for each of the two main parts) and include liner notes that explain each of the sections. For collectors that already have other versions this may not be a problem, but for novices that are trying to study the music, the omission is unacceptable. Also, the liner notes stink--2 pages total for the 3 pieces and then 3 pages on Barenboim!

Amazing.......2004-06-16

Le Sacre Du Printemps is one of my favorite pieces. I have four different recordings of it, and none of them come close to the all around greatness of this recording. This was the last recording that I purchased out of the four, and I feel no need to ever purchase another version. Every time I listen to this recording, I get goosebumps as if I was watching it live. And I have seen it live, (with the CSO and Barenboim conducting) and the recording really captures the live performance spirit. When I listen to it, I can see the strings' violent downbows at the beginning of "Dances of the Young Girls," the quick fingers of the woodwinds playing the fast scales, the trombones swiftly moving their slides, and the timpanists arms giving powerful hits on the drum in the 11/4 bar. It's an amazing version of the piece, and by far one of the best.

But of course, don't leave out La Mer and Notations VII. Both are extremely well played, and also wonderful pieces. Le Sacre Du Printemps is most definetly the highlight of this CD, though.

Pretty Amazing.......2002-12-31

For those unfamiliar with Barenboim's conducting, he seems to have a reputation for leaving issues like entrances and accuracy of rhythm for the players to deal with. In short, ensemble precision typically is not a trademark of his, which makes the performances on this CD all the more shocking. Who would expect the Rite of Spring, of all things, to sound so rhythmic, clear, and powerful under Barenboim? He has the Chicago Symphony playing with incredible tightness and security in this remarkably difficult work. The various climaxes are full of fire, as well.

Both La Mer and Boulez's Notations VII get refined playing also, even though there's a certain heaviness about the La Mer that takes away slightly from some of the atmospheric and shimmering effects of the piece. Overall, a great (and surprising) disc, supported by Teldec's terrific sonics.

Surprising.......2002-01-01

I had fairly low expectations about Barenboim's interpretation of the Rite and La Mer, but I was very wrong. This is an outstanding Rite and, I believe, one of the very best La Mers. I have never heard such clarity to the woodwinds in the Rite particularly in the Glorification of the Ancestors and the Fertility Dance. Barenboim brings a kind of luxuriant radiance to the work that has only been subtly hinted at in other performances. This is a Rite with ecstasy. Like so many other performances, this one lags in the final section, because it lacks sufficient forward momentum and orchestral clarity. The only performance that pulls this off perfectly is that of Zander, which is a must buy.
This La Mer is powerfully romantic and it simply never disappoints or falters. It does have just a bit of schmaltz in the last section, but it expresses the great majesty of the sea as powerfully as any performance I am familiar with and I know many. I recommend this CD highly.

Gay Games VII Chicago 2006, Vol. 2: Let the Games Begin

Average customer rating:

Best Compilation of the Year

Gay Games VII Chicago 2006, Vol. 2: Let the Games Begin
Various Artists
Manufacturer: Centaur
ProductGroup: Music
Binding: Audio CD

General | Dance & DJ | Styles | Music

House | Dance & DJ | Styles | Music

General | Dance Pop | Dance & DJ | Styles | Music
Similar Items:

Gay Games Chicago 2006
Party Groove: Pride, Vol. 6
Masterbeat: S.P.F. 2006
DJ Ricardo! Presents Out Anthems
Shortbus (Unrated Edition)

ASIN: B000GUJYWO
Release Date: 2006-08-15

Tracks:

Proud - Heather Small
I'll Be Your Light - Kristine W
Whenever - Jody Watley
I Was Born This Way - Craig C.
It Girl - Betty
If You Were Gay - Avenue Q, The Musical
This Is Love - Jason & DeMarco
Faces Of Victory - Dylan Rice
Freak It (Live Out Loud) - Kevin Aviance
Hell Or High Water - Billy Porter
Time Of Our Lives - Ultra Nate & Gerry De Veaux
Love Will Take Over - Ari Gold
Rocket Man - Daphne Rubin-Vega
High - Lighthouse

Customer Reviews:

Best Compilation of the Year.......2006-12-28

Gay Games VII Chicago 2006: Let the Games Begin beats out the competition as the year's best compilation. This Centaur release contains memorable moments from the Opening and Closing ceremonies plus queer favorites. This package is a winner with its all-star line-up of artists, including Heather Small, Ari Gold, Kristine W., Jody Watley, Jimmy Somerville and the cast from Avenue Q.

Average customer rating:

A nice start but then stumbles a bit....
Chicago Refreshed & Renewed
Once a favorite, and still a great album
One of Chicago's best Albums.......
This Is Not Their Finest Effort, By Any Stretch

Chicago VII
Chicago
Manufacturer: Chicago Records
ProductGroup: Music
Binding: Audio CD

General | Pop | Styles | Music

Soft Rock | Pop | Styles | Music

Pop Rock | Pop | Styles | Music

General | Adult Contemporary | Pop | Styles | Music

General | Rock | Styles | Music

Album-Oriented Rock (AOR) | Classic Rock | Styles | Music
Similar Items:

Chicago VI
Chicago V
Chicago X
Chicago III
Chicago V

ASIN: B0000021RL
Release Date: 1995-02-28

Tracks:

Prelude To Aire
Aire
Devil's Sweet
Italian From New York
Hanky Panky
Life Saver
Happy Man
(I've Been) Searchin' So Long
Mongonucleosis
Song Of The Evergreens
Byblos
Wishing You Were Here
Call On Me
Woman Don't Want To Love Me
Skinny Boy

Customer Reviews:

A nice start but then stumbles a bit...........2007-04-04

After a couple of laid back recordings Chicago attempts something different. This recording starts out promisingly with some instrumental tracks "Prelude to Aire", "Aire", "Devil's Sweet", "Italian From New York", interesting because it was so un-Chicago-like with the absence of vocals. The horns and superb drumming were there. Robert Lamm began his experimentation with synthesizers. These are not earth shattering innovative works but to my ears they largely work and shows some re-assessment on the group's part.

"Wishing You Were Here" is quite good and also a very different kind of song for Chicago. The Beach Boy's presence really added something special.

"Women Don't Want to Love Me" is a also a good solid pop piece with clever hooks and a sense of fun.

"Skinny Boy" was more a Robert Lamm vehicle but still works and also fun to listen to.

The rest of this recording leaves me cold. First of all, Peter Cetera is now singing almost exclusively in cloyingly annoying falsetto instead in his normal stronger tenor. Pieces like "Happy Man", "Call On Me" and "I've Been Searching So Long", while well arranged and nicely constructed are just too schmaltzy. What happened to the dynamic unit that shone so brightly on the first three recordings? Now, I know that the music scene changes and you can't go about attempting to replicate an album or formula, especially if you intend to be a force and have longevity, but still I just know they could do much better than these last songs I mentioned. Here you had a dynamic horn section, one of the best and most underrated drummers out there. You had an incredible guitarist that were all under utilized in the lesser portions of this recording.

Still this recording had enough high points to merit three stars for me.

Chicago Refreshed & Renewed.......2006-06-20

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.

Once a favorite, and still a great album.......2005-04-19

This was my favorite album of all time when I was a 15-year-old trumpet player in the mid-70s. It doesn't hold up quite as well now, but I'm still glad I finally got this on CD. All seven members of Chicago contributed to the songwriting, and the album marked the beginning of Cuban percussionist Laudir DeOliveira's stint as an unofficial eighth member. Originally a two-LP set, most of the first record is jazz-rock instrumentals, with the highlight being "Aire", a 7/8 time piece with a beautiful brass melody and a solid guitar solo by Terry Kath. The 10-minute "Devil's Sweet" is more of an acquired taste. The band transitions to pop at the end of the first LP with "Life Saver" and Peter Cetera's "Happy Man", and stays in pop mode for the second LP. "Happy Man" is one chorus short of a load, but otherwise could have made a good single. Cetera sings on all three of the album's hit singles, and all three are excellent songs: "(I've Been) Searchin' So Long", "Call on Me", and "Wishing You Were Here", a haunting tune where Cetera invited the Beach Boys to do their thing with the backing vocal arrangement. Trumpeter Lee Loughnane gets to sing lead on Kath's tribute to winter, "Song of the Evergreens". Trombonist James Pankow contributes the upbeat, Latin-tinged instrumental "Mongonucleosis". Pianist Bobby Lamm's songs include much of the album's weaker material, except for the catchy "Woman Don't Want to Love Me" -- his "Skinny Boy", which features the Pointer Sisters, was later the title tune of a solo album.

Lyrics were never Chicago's strong suit, and the ones on this album are pretty weak. The early 70s must have been a strange time for relationships. The lyric of "Call on Me", like "Feelin' Stronger Every Day" on the previous album, boils down to "I love you, but I'm dumping you anyway." On Kath's "Byblos", the singer falls for one woman, blows her off in a bar to talk to another woman, and when she goes off with someone else instead, is so heartbroken that "then I went home and I got it on, sat down to write these words when I was finally alone." The pop material here is as good as any Chicago ever did, and the instrumentals hold up to repeated listening better than a lot of the ones on earlier albums. To me, "Chicago VII" is the debut album's biggest competition for Chicago's best album.

(1=poor 2=mediocre 3=pretty good 4=very good 5=phenomenal)

One of Chicago's best Albums..............2005-03-27

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.

This Is Not Their Finest Effort, By Any Stretch.......2002-08-28

Oh yeah, the jazzy stuff on the first few selections of this CD are slightly interesting, but after 28 years of reflection, they are also rather boring. For how tight Chicago's instrumentals could be, it is best to listen to "It Better End Soon" on Chicago II. These seem just to be Chicago's attempts for some sort of further Downbeat acceptance.

"Lifesaver" is a fun song, but also points out how Robert Lamm's voice had mysteriously left him for this album. I know that he's supposed to sound like he's singing through a megaphone, but then "Skinny Boy" shows once and for all that Lamm must have taken a hit to the throat at some point.

Terry Kath's "Byblos" is the standout on this CD, in my opinion. Kath had a singing voice that could give out more emotion in one verse than Peter Cetera could do in the entire Chicago catalog. The "horn" songs just aren't up to snuff. "Call On Me," "Women Don't Want To Love Me," and "I've Been Searchin' So Long" are all acceptable, but just not up to their best from Transit Authority to Chicago V.