Chicago XI [Original recording remastered]

Product Description
Expanded & remastered version of Chicago's 1977 album features 2 previously unreleased bonus tracks, 'Wish I Could Fly' (rehearsal)& 'Paris' (rehearsal). Rhino. 2003.

Chicago XI,Chicago,Rhino / Wea,Adult Contemporary,Pop,Pop/Rock,Rock,Rock/Pop,Soft Rock

Chicago XI [Original recording remastered]

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Chicago's Second Peak
Terry's Final Farewell
Good Songs In Kath's Last Hurrah
Still Really Good
Terry Kath's Final Contribution to Chicago

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

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Chicago X
Chicago VIII
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Chicago VI
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ASIN: B00007LTIQ
Release Date: 2003-02-25

Tracks:

Mississippi Delta City Blues
Baby, What A Big Surprise
Till The End Of Time
Policeman
Take Me Back To Chicago
Vote For Me
Takin' It On Uptown
This Time
The Inner Stuggles Of A Man
Prelude (Little One)
Little One
Wish I Could Fly (Rehersal)
Paris (Rehearsal)

Album Description

Expanded & remastered version of Chicago's 1977 album features 2 previously unreleased bonus tracks, 'Wish I Could Fly' (rehearsal)& 'Paris' (rehearsal). Rhino. 2003.

Customer Reviews:

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.

Terry's Final Farewell.......2005-12-30

From the opening bass chops of Peter Cetera and the haunting laugh of Terry Kath- this album is gripping. The final album of the original line-up of Chicago shows a return to some of the hard rock stylings of their 1969 debut album on songs such as Mississippi Delta City Blues and Takin' It On Uptown.

Mississippi Delta City Blues- Viewed by some fans as Terry's swan song. This song can be interpreted on multiple levels. Terry's laugh at the beginning of the song juxtaposed with the lyrics about masking his unhappiness is a very nice creative effect. Peter Cetera shines on the bass on this song. The guitar riff is catchy, the horns accent Terry and Peter's performance. Although this song had been around since Chicago's days playing the club circuit in the late sixties, the lyrics seem particularly pertinent to Terry's feelings at the time of its recording. His unhappiness is expressed throughout the song despite his somewhat jovial tone- it's almost eerie that this was recorded so close to Terry's death.

Baby What A Big Surprise- This is the rough in the diamonds, reinforcing the label of "ballad band" for Chicago. It might as well have been called If You Leave Me Now Part II- This Time We'll REALLY Give You Cavities.

Till the End of Time- James Pankow's second endeavour as lead vocalist. While somewhat slow, this song still contains a lot of the elements of earlier Chicago. The syrup doesn't run quite as thick as on Baby What a Big Surprise. The horns are still quite prominent, the vocals are well done by Pankow leaving some fans wondering why he only sang lead on two Chicago songs during his entire (and continued) tenure with the band. The harmony vocals at the end of the song are some of the best harmonies Chicago has ever done.

Policeman- Musically speaking it's not one of Robert Lamm's stronger songs. The lyrics however are written quite well in a story-telling style which is somewhat reminiscent of the songs of Gordon Lightfoot and Harry Chapin. The horns are quite prominent, Terry's guitar playing accents and compliments the horns nicely. The harmony vocals compliment both Lamm's vocals and the horns. Unfortunately after this song Lamm's songwriting skills seemed to fall into a slump.

Take Me Back to Chicago- A touching song written by Danny Seraphine and "Hawk" Wolinski for Freddy Page, the late drummer of the Illinois Speed Press. However with Terry's untimely passing being so close to the release of this album this song is seemingly just as much written for Terry as it's written for Page. The preach by Chaka Kahn at the end of the song is a nice touch. This is easily one of the best Danny Seraphine penned songs and it shows his emergence as a songwriter.

Vote For Me- Typical Robert Lamm political commentary. This song is quite tongue-in-cheek, however, lyrically speaking it seems a bit weaker than Policeman. On the musical end of things this song has a stronger feel to it than some of Robert's other endeavours from the late seventies.

Takin' It On Uptown- In a word WOW! Terry Kath at his absolute best! Both vocally and on guitar- Terry Kath shines on this album. Some of Terry's best playing since his marathon solos on Live at Carnegie Hall. The lyrics are written by Fred Kagan, however they seem to carry a similar theme to the lyrics of Mississippi Delta City Blues. This song has a more upbeat theme to it although Terry sings it in an almost angry, fed-up tone. Moreso than any other song of Terry's- this seems to be a duet between Terry the singer and Terry the guitarist.

This Time- For a slower song, Terry really jams on this song as well. Lee Loughnane's lead vocals are very reminiscent of Terry's soulful style in fact at first listen one would almost assume that it is indeed Terry, not Lee, on lead vocals. One of Lee's finer attempts at being a songwriter and a singer.

The Inner Struggles of A Man- The orchestration on this piece provides a beautiful segue from the more upbeat This Time to the more somber Little One. It's a very beautiful piece and it sounds like it could be used for a film.

Prelude (Little One)- Picking up where The Inner Struggles of A Man crescendoes this is an excellent lead-in to Little One.

Little One- Written by Danny Seraphine for his daughters, Terry puts his stamp on this piece as well. This song can easily be interpretted as being just as much for Michelle Kath as it is for Danny's daughters. The string orchestration in the background really compliments the horns and Terry's voice.

Good Songs In Kath's Last Hurrah.......2005-12-19

If the strength of an orchestra is in their weakest player, is the strength of a band in their weakest album? Chicago XI is certainly not the weakest Chicago album--as the record did go platinum in its 1977 release. However, few if any songs in the album have had any staying power. With the possible exception of "Baby, What A Big Surprise," few of the remaining songs would ever be played on the radio or in a Chicago concert. And this is regrettable. Chicago XI is a solid album, but many of its songs represent the highly melodic and well orchestrated soft rock that characterized Chicago in the mid-to-late 70s.

The album was a turning point in the band for many reasons. As mentioned in other posts, Chicago XI is Terry Kath's last album. The band would soon transition to disco in "Hot Streets," hard rock in "Chicago XIV" (well, Chicago's version of hard rock), and then the power ballads in the 80s. In addition, XI is James William Guercio's last Chicago album as the band forced the producer out following its release.

However, the album was also different for being less focused on Robert Lamm songs. As much as I enjoy Lamm's songs such as "Policeman," my favorite track is "Little One," co-written by Danny Seraphine and David Wolinski. Not only would the song be the last sung by Terry Kath, but it is a beautiful six minutes of soft rock.

Rhino's re-release of XI provided the additional tracks of Pankow's "Wish That I Could Fly" and Lamm's "Paris." Neither track is memorable, but both are OK additions.

XI is a good album for the Chicago faithful. However, Chicago X and Hot Streets solidly outshine this album with similar-sounding music.

Still Really Good.......2005-04-20

CHICAGO XI has always meant a great deal to me. I remember getting it hot off the presses, spinning it, and thinking, "Well, it ain't as good as X." After a few weeks, though, I realized there wasn't a bad tune on the album. Then, Terry Kath shot himself and the set took on a whole new meaning as a swansong. The recently released Rhino remaster conjures uip all of these things.

It's eerie that Kath's last recorded tune has him singing about hopping train "number 86" ("Takin' It On Uptown"). It's also still hard to hear him croon, "...'cause I will always be there" on "Little One." For a longtime Chicago fan, it's difficult to separate his death from the music.

But the music is good. After years of experimenting, Kath finally cemented "Mississippi Delta City Blues" into a terrific hook with workable lyrics. As an opener, it gets the set off to a great start. Peter Cetera's "Baby, What a Big Surprise" was the hit, and, all in all, it's not unpleasant. Trombonist James Pankow writes and sings the interesting "Till the End of Time," which is followed by Robert Lamm's mellow but excellent "Policeman." "Take Me Back to Chicago," a minor hit penned by drummer Danny Seraphine and Rufus hitmaker Hawk Wolinski, culminates in a terrific, almost gospel 'preach' fronted by the visiting Chaka Khan. Lamm's "Vote for Me" has always been hilarious, and, as I get older, the lyrics make much more sense.

Kath contributes perhaps the single greatest tune he ever wrote (with lyrics by Fred Kagan) with "Takin' It On Uptown." The wailing lead and chunky rythm guitar work meshes perfectly with Kath's growled vocals (punctuated effectively by Cetera in the background). This could easily stand as Kath's memorial. Trumpeter Lee Loughnane writes and sings the follow-up, "This Time"--a pleasing tune with a great hook. "Little One" and the build-up (written by Seraphine and Hawk) closes the orginal set with style and substance.

This being a re-release. there are bonus tracks. The first, Pankow's "Wish I Could Fly" is so cool, I wish Chicago had finished it. The second, Lamm's "Paris," is pretty bad.

The packaging and the liner notes for this edition of CHICAGO XI are well done. The remaster doesn't much improve on the sound quality, however, since the original LP was of high quality. Hey, at Amazon prices, this CD is well worth it.

Terry Kath's Final Contribution to Chicago.......2005-01-15

This album was significantly different from Chicago's early albums. Gone was the progressive flavored rock and jazz fusion. Gone are the longer, highly experimental tracks. In its place is tautly written and performed music indicative of the skill of a group into their eleventh album, a group that would soon be losing one of its most creative members, Terry Kath.

The CD kicks off with "Mississippi Delta City Blues," a mixture of Terry Kath's bluesy voice style with Chicago's strong horns and a rock beat to create a powerful song. The funky flavor of this song is indicative of the mid-70s era in which it was written and performed, and yet the jazz and blues provide this song with a timeless quality that make it as enjoyable to listen to today as 1977. This song is so fast-paced and instrument-laden that it flirts with the hard rock category.

The transition from the powerful "Mississippi Delta City Blues" to "Baby, What a Big Surprise" is very dramatic. The former is instrument and beat powered. This song is a love ballad focused on Peter Cetera's vocals and harmonies. This beautiful pop song hit #4 and was a hint of Chicago's transition to a pop band in the 80s.

The transition from "Baby, What a Big Surprise" to "Till the End of Time" is less dramatic than the transition into the previous song as this song is also relatively slow and mellow, but Chicago's signature horns and blues flavor make this song a ballad in Chicago's style of that time rather than the much mellower Peter Cetera pop song. The thick vocal style and layered sound are but some of the characteristics of the unique Chicago sound of this era.

"Policeman" is lyrically significantly different from the two previous love songs. The song is jazz and blues influenced, with a touch of keyboard, typical for the 70s. The song is poignant in that it combines the worst scenarios in life for policemen in general. Seeing the worst in life, hoping to make a difference, and the stress being a policeman causes in your personal life. With so many songs that are down on the police, this blues song looks at their life from their side, a look that puts in perspective that police are people with a tough job.

The next song, "Take Me Back to Chicago," is a funky jazz celebration of Chicago, the city. The singer is apparently in Los Angeles, longing for Lake Michigan and Tastee Freeze and probably Lakeshore Drive. This song offers a mellow start with little keyboard flavors. The song breaks into stronger jazz sections that proclaim how enthusiastic the band is about Chicago. This song was released as a single with "Policeman," though it charted poorly. Unfortunate because it is a better song than many released in the late 70s.

The bouncy little ditty that follows, "Vote for Me," is pure fun. The song offers a rock style that has some similarity to Elton John's mid-70s music, and the lyrics are a parody of political promises made in every election year.

"Takin' It on Uptown" offers a Jimi Hendrix-style guitar driven rock song that bears little resemblance to any of the previous six songs. This powerful song is the fourth style offered in the first seven songs, and shows the breadth of ability of this phenomenal group. In spite of the heavy beat and the power instruments this song is enjoyable. While the next song, "This Time," offers horns, it too has a powerful guitar track that retains some of the flavor of the previous song. The latter song is a fun love song with all the hallmarks of classic Chicago music.

"The Inner Struggles of a Man" is a short instrumental that is somewhat reminiscent of the instrumentals on the first three Chicago albums. This track is shorter than most of those instrumentals, but the style is similar. The change in pace from the previous tracks is dramatic, with an orchestral sound including strings rather than jazz or rock instruments. This instrumental smoothly transitions to "Prelude (Little One)," a short (52 seconds) blues introduction to "Little One," which was the final track on the original release. The transition between "Prelude (Little One)" and "Little One" is not discernable. "Little One" features lead vocals by Terry Kath and his emotional vocals become in effect a poignant end to his recording career. Knowing that Terry Kath would soon be gone when this was recorded sends chills down my spine. "Little One" was released as a single with "Till the End of Time," achieving only modest success, rising to #44 on the hot 100 and #40 on the easy listening chart.

This version of "Chicago XI" features two bonus tracks, "Wish I Could Fly" and "Paris." "Wish I could Fly" is a rock instrumental that is a worthy addition to this CD. "Paris" is a bouncy rock tune with strong percussion. Both tracks are listed as being rehearsals. I think "Wish I Could Fly" is the better of the two bonus tracks. "Paris" is nice having and pushes the time for this CD to over 52 minutes, but is the weakest track on the entire CD.

Chicago started as a unique group. While this CD is less experimental than their earliest albums, the experimentation has given way to refinement. The result is a quality album that compares well to their most ambitious albums. Fans of Chicago's early, more progressive tracks will find this album lacks that type of music. This album stands as a testament to a group that marks the end of its first era with its release. This CD is a must have for fans of early Chicago music and for those who enjoy jazz-rock.

Average customer rating:

Chicago XI
Chicago
Manufacturer: Wea/Warner
ProductGroup: Music
Binding: Audio CD

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Soft Rock | Pop | Styles | Music

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ASIN: B00009PN5R
Release Date: 2003-07-14

Tracks:

Mississippi Delta City Blues
Baby, What a Big Surprise
Till the End of Time
Policeman
Take Me Back to Chicago
Vote for Me
Takin' It on Uptown
This Time
Inner Struggles of a Man
Prelude (Little One)
Little One
Wish I Could Fly [Rehearsal][*]
Paris [Rehearsal][*]

Average customer rating:

This is where the band starts to fall apart.
Terry Kath's Final Contribution to Chicago
Last Great Chicago Album
Good Moments But Not Quite Over The Top
Never the Same Again

Chicago XI
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

Pop Rock | Pop | Indie Music | Stores | Music

Classic Rock | Rock | Indie Music | Stores | Music
ASIN: B0000021RT
Release Date: 1995-02-28

Tracks:

Mississippi Delta City Blues
Baby, What A Big Surprise
Till The End Of Time
Policeman
Take Me Back To Chicago
Vote For Me
Takin' It On Uptown
This Time
The Inner Struggles Of A Man
Prelude (Little One)
Little One

Customer Reviews:

This is where the band starts to fall apart........2006-12-06

Chicago is one of my all time favorite bands and this is in my opinion the album that shows they were going down hill. A lot of people say Chicago went down hill becasue of Terry's death, I disagree. There is even signs of weakness in Chicago X. Chicago ran their course.

Terry Kath's Final Contribution to Chicago.......2006-06-21

This album was significantly different from Chicago's early albums. Gone was the progressive flavored rock and jazz fusion. Gone are the longer, highly experimental tracks. In its place is tautly written and performed music indicative of the skill of a group into their eleventh album, a group that would soon be losing one of its most creative members, Terry Kath.

The CD kicks off with "Mississippi Delta City Blues," a mixture of Terry Kath's bluesy voice with Chicago's strong horns and a rock beat. The funky flavor of this song is indicative of the mid-70s era in which it was written and performed, and yet the jazz and blues provide this song with a timeless quality that make it as enjoyable to listen to today as 1977. This song is so fast-paced and instrument-laden that it flirts with the hard rock category.

The transition from the powerful "Mississippi Delta City Blues" to "Baby, What a Big Surprise" is very dramatic. The former song is instrument and beat powered. This song is a love ballad focused on Peter Cetera's vocals and harmonies. This beautiful pop song hit #4 and was a hint of Chicago's transition to a pop band in the 80s.

The transition from "Baby, What a Big Surprise" to "Till the End of Time" is less dramatic than the transition into the previous song as this song is also relatively slow and mellow, but Chicago's signature horns and blues flavor make this song a ballad in Chicago's style of that time rather than the much mellower Peter Cetera pop song. The thick vocal style and layered sound are but some of the characteristics of the unique Chicago sound of this era.

"Policeman" is lyrically significantly different from the two previous love songs. The song is jazz and blues influenced, with a touch of keyboard, typical for the 70s. The song is poignant in that it combines the worst scenarios in life for policemen in general: seeing the worst in life, hoping to make a difference, and the stress being a policeman causes in your personal life. With so many songs that are down on the police, this blues song looks at their life from their side, a look that puts in perspective that police are people with a tough job.

The next song, "Take Me Back to Chicago," is a funky jazz celebration of Chicago, the city. The singer is apparently in Los Angeles, longing for Lake Michigan and Tastee Freeze and probably Lakeshore Drive. This song offers a mellow start with little keyboard flavors. The song breaks into stronger jazz sections that proclaim how enthusiastic the band is about Chicago. This song was released as a single with "Policeman," though it charted poorly. Unfortunate because it is a better song than many released in the late 70s.

The bouncy little ditty that follows, "Vote for Me," is pure fun. The song offers a rock style that has some similarity to Elton John's mid-70s music, and the lyrics are a parody of political promises made in every election year.

"Takin' It on Uptown" offers a Jimi Hendrix-style guitar driven rock song that bears little resemblance to any of the previous six songs. This powerful song is the fourth style offered in the first seven songs, and shows Chicago's breadth of ability. This song is enjoyable with its heavy beat and power instruments. While the next song, "This Time," offers horns, it too has a powerful guitar track that retains some of the flavor of the previous song. The latter song is a fun love song with all the hallmarks of classic Chicago music.

"The Inner Struggles of a Man" is a short instrumental that is somewhat reminiscent of the instrumentals on the first three Chicago albums. This track is shorter than most of those instrumentals, but the style is similar. The change in pace from the previous tracks is dramatic, with an orchestral sound including strings rather than jazz or rock instruments. This instrumental smoothly transitions to "Prelude (Little One)," a short (52 seconds) blues introduction to "Little One," the final track on this release. The transition between "Prelude (Little One)" and "Little One" is not discernable. "Little One" features lead vocals by Terry Kath and his emotional vocals become in effect a poignant end to his recording career. Knowing that Terry Kath would soon be gone when this was recorded sends chills down my spine. "Little One" was released as a single with "Till the End of Time," achieving only modest success, rising to #44 on the hot 100 and #40 on the easy listening chart.

There are at least three versions of this CD available. This version was released in 1995. There is also a 1990 release and a 2003 remaster that includes two bonus tracks. If you like Chicago's jazz influenced music you may prefer the version with the extra tracks. I think the extra tracks can be skipped unless you must have everything Chicago recorded. You may wish to survey the available versions to determine which version best meets your needs before buying.

Chicago started as a unique group. While this CD is less experimental than their earliest albums, the experimentation has given way to refinement. The result is a quality album that compares well to their most ambitious albums. Fans of Chicago's early, more progressive tracks will find this album lacks that type of music. This album stands as a testament to a group that marked the end of the group's first era with this album's release. This CD is a must have for fans of early Chicago music and for those who enjoy jazz-rock.

Last Great Chicago Album.......2003-06-18

For hard core early Chicago fans, this is the last great Chicago album. Chicago would never be the same after the death of lead singer and guitarist Terry Kath. The album is a hodge-podge but features some spectacular tracks, namely: Mississippi Delta City Blues, Baby What a Big Suprise, Takin it on Uptown, Inner Struggles of a Man-Little One. It also has some average/good songs like Policeman, Vote for Me, Take Me Back to Chicago, and This Time. The weakest track is Till the End of Time. Take Me Back to Chicago has an almost prophetic feel, predicting the depression that would soon overcome the band in the aftermath of Kath's death. Keyboardist Robert Lamm does a good Steely Dan imitation, and there are some great vocals by Chaka Khan. It won't be until the album "Night and Day (1995)" that Chicago will return to its old form with keyboardist Robert Lamm emerging from his seclusion as the leader of the band.

Good Moments But Not Quite Over The Top.......2003-05-12

This last recording to feature guitarist Terry Kath. Even with Terry's presence, this Chicago release is truly a mixed bag.

I know every reviewer seems to like the opening Mississippi Delta Blues number. Whereas the guitar and horn stylings are quite appealing, the melody is quite unmemorable. The Second track Baby What A Big Surprise is more tuneful and features some pretty horn and string touches. However its oh too sappy for my tastes and was badly overplayhed on AM radio.

Truthfully the best tunes on this collection are the soulful Take Me Back To Chicago, the passionate Little One, and Lee Loughnane's finely arranged This Time. The other non mentioned tunes are decent but certainly not spectacular. Unfortunately after this release, it would all go downhill.

Never the Same Again.......2002-05-16

I know it sounds like a cliche, especially since 2 reviewers issued the same statement with different words. But face it- Chicago would never be the same again after Terry Kath accidentally took his life. Not only that, they fired control freak manager/producer James Guercio and would never record at Caribou studios afterwards.

Kath opens with "Mississippi Delta City Blues", which had been included in their live set as early as 1972. In this song, he mourns the end of a relationship but keeps a brave face for others. "Baby What a Big Surprise" isn't a bad song. I like Lee Loughnane's flugelhorn arrangement in it but Peter Cetera's lyrics are a bit cheezy. Jim Pankow's "Till the End of Time" is the most forgetable songs here- stick to your trombone chores, Jimmy! Things pick up with Robert Lamm's "Policeman", which shows our police force in a more favorable light than on "State of the Union". Danny Seraphine contributes the poignant "Take Me Back to Chicago", which was dedicated in memory of a drummer from Chicago (but soon rang too true to Kath)- "...and lay my soul to rest." Chaka Khan contributes some soulful harmonies. Next is Lamm's hilariously sarcastic "Vote for Me", where a politician makes promises impossible to keep like extending the railroad system "from Waikiki to Old Delaware" and "new cars that run on beer or anything except gasoline"! Kath pens and croons the grim blues number "Takin' It On Uptown", which sounds a little too prophetic. Loughnane sings the impressive "This Time". "The Inner Struggles of a Man" sounds a lot like the "AM/PM Mourning Suite" on Chicago II which segues into "Prelude/Little One." I suppose it sounds a little corny unless you have kids of your own but Kath's sensitive vocals on "Little One" make it sound all the more poignant. Terry, rest in peace, we miss you.

Chicago XI
Average customer rating:
Chicago XI
Chicago
Manufacturer: Sony
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
Similar Items:

Chicago V

Hot Streets

ASIN: B00000DRWM
Release Date: 1990-10-25