# xmcd
#
# Track frame offsets: 
#        150
#        12677
#        41985
#        87280
#        106392
#        114880
#        138877
#        154847
#        174950
#        190670
#        214945
#        243385
#        264100
#        282370
#        303180
#
# Disc length: 4354 seconds
#
# Revision: 3
# Processed by: cddbd v1.5.2PL0 Copyright (c) Steve Scherf et al.
# Submitted via: ExactAudioCopy v0.90b4
#
DISCID=c611000f
DTITLE=Chicago / Chicago VII (Original CD - US Pressing)
DYEAR=1974
DGENRE=Rock
TTITLE0=Prelude To Aire
TTITLE1=Aire
TTITLE2=Devil's Sweet
TTITLE3=Italian From New York
TTITLE4=Hanky Panky
TTITLE5=Life Saver
TTITLE6=Happy Man
TTITLE7=(I've Been) Searchin' So Long
TTITLE8=Mongonuleosis
TTITLE9=Song Of The Evergreens
TTITLE10=Byblos
TTITLE11=Wishing You Were Here
TTITLE12=Call On Me
TTITLE13=Woman Don't Want To Love
TTITLE14=Skinny Boy
EXTD=Chicago VII (Original CD - US Pressing)\n\nChicago VIII (Remaster
EXTD=ed & Expanded)\n2002 Rhino - Warner Music Group\n\nOriginally Rel
EXTD=eased March 1974\nStandard CD Edition Released 1987 or February 2
EXTD=8, 1995\nRhino Remastered Edition Released November 5, 2002\n\nAM
EXTD=G EXPERT REVIEW: Although commercially successful, Chicago's prev
EXTD=ious long-player, Chicago VI (1973), had not been received as war
EXTD=mly from both the critics as well as from some bandmembers. Both 
EXTD=parties expressed their dissatisfaction with the lighter fare and
EXTD= significantly shorter material. In response, the combo briefly r
EXTD=eturned to their previously tried and true methodology on their f
EXTD=ollow-up album. As such, Chicago VII (1974) was not only a double
EXTD= LP, but much of the effort likewise returned them to their forme
EXTD=r jazz/rock glory while continuing the middle-of-the-road (MOR) e
EXTD=thos that was concurrently impacting the pop charts. Nowhere is t
EXTD=his more evident than the trio of sides extracted as singles -- i
EXTD=ncluding the Top Ten hits "(I've Been) Searching So Long," "Call 
EXTD=on Me," and "Wishing You Were Here." The latter of which features
EXTD= some stunning backing vocals from Beach Boys Dennis Wilson, Carl
EXTD= Wilson, and Alan Jardine. The group were continuing in their inc
EXTD=orporation of additional musicians, most notably Laudir DeOliveir
EXTD=a (percussion) and David J. Wolinski (ARP synthesizer) -- both of
EXTD= whom are prominently featured throughout the sides. The opening 
EXTD=instrumentals, including "Prelude to Aire," "Aire," and "Devil's 
EXTD=Sweet," reflect Daniel Seraphine's (drums) tremendously underrate
EXTD=d skills as a writer as well as the combo's recently underutilize
EXTD=d talents as ensemble musicians. All three tracks provide a brill
EXTD=iant showcase for the brass/woodwind section(s) to flex their res
EXTD=pective muscles, drawing heavily upon the styles of Weather Repor
EXTD=t and to some extent Miles Davis and Santana. The nature of their
EXTD= seemingly experimental fusion is stretched out even further on "
EXTD=Italian From New York." The cut includes some interesting ARP int
EXTD=erjections from Robert Lamm, whose decidedly free-form contributi
EXTD=ons weave alongside some rubbery and liquefied fretwork courtesy 
EXTD=of Terry Kath (guitar/vocals). His lead bobs around Lamm's synthe
EXTD=sizer and an equally prominent cool-toned Fender Rhodes keyboard 
EXTD=bed. The second half of Chicago VII directly contrasts the less s
EXTD=tructured instrumentals with more inclusive sides such as the pre
EXTD=viously mentioned hits "Call On Me" and "Wishing You Were Here." 
EXTD=Other highlights include Lamm's funky mid-tempo "Life Saver," Pet
EXTD=er Cetera's (bass/vocals) laid-back and unencumbered "Happy Man,"
EXTD= and a double shot from Kath in the form of two serene ballads, "
EXTD=Song of the Evergreens" and "Byblos" -- which features some stell
EXTD=ar acoustic strumming. This collection would be Chicago's final t
EXTD=wo-disc set by the original lineup and offers the best of the ban
EXTD=d as improvisational instrumentalists as well as concise, emotive
EXTD= vocalists and song crafters.   -- Lindsay Planer\n\n\nAMG EXPERT
EXTD= REVIEW: Originally intended as a jazz-oriented record, Chicago's
EXTD= first double studio album since Chicago III (now on one CD) is a
EXTD=n ambitious but ultimately uneven affair, buttressed by the hit s
EXTD=ingles "(I've Been) Searchin' So Long," "Call On Me," and "Wishin
EXTD=g You Were Here." [This version includes one bonus track.] -- Wil
EXTD=liam Ruhlmann\n\nAMAZON.COM CUSTOMER REVIEW\nSimply their Best !!
EXTD=, November 14, 2002 \nReviewer: A music fan from San Antonio, TX 
EXTD= \nThis is Chicago's best album, quite simply. The pop is hip and
EXTD= the jazz is real. I just came back to it after many years away a
EXTD=nd found it as enjoyable as ever. We all know that most music doe
EXTD=s not demonstrate such resiliency. This recording can be put on a
EXTD= level with Chicago II and V, which is also saying a lot. As alwa
EXTD=ys, a love of a phenomenal horn section is key to the full enjoym
EXTD=ent of this band, and this selection does not disappoint. But Rob
EXTD=ert Lamm's keyboards and Terry Kath's brilliant guitar (I still m
EXTD=iss him) are amply featured to full effect. Sadly, they never aga
EXTD=in sounded so good. \n\nAMAZON.COM CUSTOMER REVIEW\nGreat re-issu
EXTD=e of a great album...., November 7, 2002 \nReviewer: Brian Christ
EXTD=ie from Montreal, Quebec Canada  \nCHICAGO VII was originally rel
EXTD=eased in March 1974, quickly hitting # 1 and eventually spawning 
EXTD=three big hit singles. Initially it was planned as a jazz record 
EXTD=(hence the first 5 instrumental - and highly enjoyable - tracks) 
EXTD=but with commercial concerns, they soon included a fresh selectio
EXTD=n of conventional pop tunes. Of the hits, you'll find "I've Been 
EXTD=Searchin' So Long", "Call On Me" and "Wishing You Were Here" (wit
EXTD=h three of The Beach Boys), however many of the highlights are th
EXTD=e non-hits, such as "Happy Man" (which has lost its false start o
EXTD=n the original album - the only negative thing about the re-issue
EXTD=), the jazz workouts "Aire" and "Devil's Sweet", "Song Of The Eve
EXTD=rgreens", "Byblos" (one of Terry Kath's finest moments) and Rober
EXTD=t Lamm's "Skinny Boy" (with The Pointer Sisters on backups). This
EXTD= was Chicago's last studio double album and their last truly expe
EXTD=rimental album - recorded at a time when they could do no wrong. 
EXTD=The ballads were starting to seep through more but thankfully, Ch
EXTD=icago still were in a creatively ambitious mood. It is not a surp
EXTD=rise that CHICAGO VII is a personal favorite of many fans. It's o
EXTD=ne of mine. The Rhino re-issue itself is another great one and ha
EXTD=s faithfully restored the original artwork. I just wish that "Hap
EXTD=py Man" had been left in its original state, but that is a minor 
EXTD=quibble in the face of a fine re-release. One of 1974's most sati
EXTD=sfying albums. \n\nAMAZON.COM CUSTOMER REVIEW\nThe last jazz albu
EXTD=m, September 10, 1999 \nReviewer: A music fan from the Dakota Ter
EXTD=ritories  \nThose who criticize Chicago for being too commercial 
EXTD=or too predictable should listen to this (double) album (on one C
EXTD=D). The listener has to go through the first side and one half of
EXTD= the first album before one hears the first track with lyrics and
EXTD= vocals. The first five instrumental tracks contain some complex 
EXTD=horn arrangements interlaced with disjointed jazz solos, all of w
EXTD=hich are enjoyable. Fans have yet to see such a commitment to lon
EXTD=g and complex instrumental arrangements on any subsequent Chicago
EXTD= release. The other tracks contain a latin feel not unlike that f
EXTD=ound on Santana albums of that era. Percussion instruments are st
EXTD=ressed courtesy of Chicago's new member Laudir OIiviera and are b
EXTD=rought to the forefront on the exuberant "Call On Me", the moody 
EXTD="Happy Man" and the exciting instrumental "Mongonucleosis". The a
EXTD=re, of course, some hits here. "I've Been Searching So Long" repr
EXTD=esents a protypical power love ballad, a style later used by the 
EXTD=group to the nth extreme in the 1980's. This song, however, was n
EXTD=ew enough not to be a cliche at the time of its release. "Wishing
EXTD= You Were Here" contains some great harmony vocals with the Beach
EXTD= Boys. This is one Chicago album to get. It was released at a tim
EXTD=e when any album they put out would go to number 1. That tendency
EXTD= gave the group some confidence to take a few risks, when they ha
EXTD=d a producer that would allow them to take risks. \n\nAMAZON.COM 
EXTD=CUSTOMER REVIEW\nThis Is Not Their Finest Effort, By Any Stretch,
EXTD= August 27, 2002 \nReviewer: M.B. Allen from Illinois  \nOh yeah,
EXTD= the jazzy stuff on the first few selections of this CD are sligh
EXTD=tly interesting, but after 28 years of reflection, they are also 
EXTD=rather boring. For how tight Chicago's instrumentals could be, it
EXTD= is best to listen to "It Better End Soon" on Chicago II. These s
EXTD=eem just to be Chicago's attempts for some sort of further Downbe
EXTD=at acceptance.\n\n"Lifesaver" is a fun song, but also points out 
EXTD=how Robert Lamm's voice had mysteriously left him for this album.
EXTD= I know that he's supposed to sound like he's singing through a m
EXTD=egaphone, but then "Skinny Boy" shows once and for all that Lamm 
EXTD=must have taken a hit to the throat at some point.\n\nTerry Kath'
EXTD=s "Byblos" is the standout on this CD, in my opinion. Kath had a 
EXTD=singing voice that could give out more emotion in one verse than 
EXTD=Peter Cetera could do in the entire Chicago catalog. The "horn" s
EXTD=ongs just aren't up to snuff. "Call On Me," "Women Don't Want To 
EXTD=Love Me," and "I've Been Searchin' So Long" are all acceptable, b
EXTD=ut just not up to their best from Transit Authority to Chicago V.
EXTD=\n\nWhile this is a decided improvement over Chicago VI, it simpl
EXTD=y serves as a reminder as to how this once-great group was contin
EXTD=uing a slow, but certain slide into pop... \n\nAMAZON.COM CUSTOME
EXTD=R REVIEW\nExperimental Jazz Plop, January 18, 2001 \nReviewer: St
EXTD=even R Fleck from Rockville Centre, NY United States  \n"Experime
EXTD=ntal" popular music usually doesn't thrill consumers. Unlike genr
EXTD=es such as jazz or opera, pop is supposed to appeal to the masses
EXTD= & sell the big units; that's why it's called "pop." Hence, pop a
EXTD=lbums with some 25 minutes worth of instrumental fusion before a 
EXTD=vocal is even croaked out would not be expected to chart #1. That
EXTD='s how good the second half of CHICAGO VII is.\n\nNot that I don'
EXTD=t dig Album 1 of CHICAGO VII, I just think it walks a fine line b
EXTD=etween OK fusion & the "new direction of Spinal Tap." Some jazz/p
EXTD=rog dudes might disagree, but self-indulgence doesn't automatical
EXTD=ly mean good music. I mean, I like DEVIL'S SUITE, but the drum so
EXTD=lo? Robert Lamm's ITALIAN FROM NEW YORK sports usually innovative
EXTD= Terry Kath's wah pedal doodle, & even I get bored. AIRE & HANKY 
EXTD=PANKY are really the only completely successful tracks on Album 1
EXTD=, and they're comparatively short. The 1st vocal track, LIFE SAVE
EXTD=R, begins with the coolest of grooves, but quickly dies. Peter Ce
EXTD=tera's HAPPY MAN is a displaced weary ballad amongst all these "a
EXTD=rtistic statements" on Album 1.\n\nAlbum 2 is a different animal.
EXTD= Jimmy Pankow's superb #9 single (I'VE BEEN) SEARCHING SO LONG sn
EXTD=eaks up only to explode in a powerful array of horns & strings. P
EXTD=ankow's short instrumental, MONGONUCLEOSIS, is a conga driven, br
EXTD=ass-laden, Latin delight. \n\nThree of Chicago's most exquisite s
EXTD=ongs then fall in a row. Kath's SONG OF THE EVRGREENS, beautifull
EXTD=y vocalized by Lee Loughnane, is an homage to winter that defies 
EXTD=categorization. Equally singular is Kath's Spanish style BYBLOS, 
EXTD=about a chance encounter and it's effect, but it's the incredible
EXTD= acoustic chords, modulations, and vocals of Kath that linger. Fi
EXTD=nally, peaceful tidal waves give way to Cetera's WISHING YOU WERE
EXTD= HERE, a #11 single & one of Chicago's few ethereal hits. Strange
EXTD=ly, of the three, only WISHING contains horns, and very little.\n
EXTD=\nCALL ON ME by Loughnane, a #6 single, is bouncy & Latino-influe
EXTD=nced. Lamm's badass R&B WOMEN DON'T WANT TO LOVE ME features a ki
EXTD=ller horn groove. Only Lamm's solo album leftover, SKINNY BOY, mi
EXTD=sfires on Album 2.\n\nChicago was so big in 1974, Walt Parazaider
EXTD= said they could "fart on record & it would sell." Indeed, VII so
EXTD=ared to #1, in spite of sevral instrumental flatulations. Their f
EXTD=ollow-up, CHICAGO VIII, would portray the musician's versatility 
EXTD=in a much more palatable package. \n\nROLLING STONE REVIEW\nWhen 
EXTD=we bought rock in the Sixties, we got personality with it. The Am
EXTD=erican rock-group pantheon of the last decade -- such as the Band
EXTD=, the Byrds, Creedence Clearwater Revival, Sly and the Family Sto
EXTD=ne, perhaps the Grateful Dead -- included strong individual leade
EXTD=rs -- Robbie Robertson, Roger McGuinn, John Fogerty, Sly Stone an
EXTD=d Jerry Garcia.\n\nNow, five years after Woodstock, the American 
EXTD=supergroup, as represented by Chicago, Three Dog Night and Grand 
EXTD=Funk Railroad, is in crisis. As befits a form honoring the adoles
EXTD=cent in us all, the supergroup is having an identity crisis.\n\nC
EXTD=hicago conjures up nothing but a logo (perhaps the best artist-ma
EXTD=rketing device in rock), that Coke-like signature that dominates 
EXTD=their nearly identical album covers. And try as they may, Three D
EXTD=og Night seems like more of a sound than a group. After five year
EXTD=s of gold albums and singles, and endless SRO arena-sized concert
EXTD= tours, who but their closest relatives and staunchest fans recog
EXTD=nize photographs of Lee Loughnane and Jimmy Greenspoon? Who knows
EXTD= which group each of them is in?\n\nAnd the music of both groups 
EXTD=is as faceless as their members. Chicago derives its sound from S
EXTD=tan Getz and cool jazz, big, brassy dance bands, all mixed with t
EXTD=he latest in technologically advanced but anonymous recording sty
EXTD=les. Three Dog Night is the descendant of the early Sixties Tin P
EXTD=an Alley pop-rock that Dylan helped to destroy. Though some of th
EXTD=eir work is pleasant, the group is an anachronism, a vehicle for 
EXTD=songwriters in an age when songwriters are their own best vehicle
EXTD=.\n\nGrand Funk Ubermensch\n\nThough Grand Funk has its own probl
EXTD=ems, they are, at least, a rock band -- while Chicago and Three D
EXTD=og Night are not. When Grand Funk jettisoned manager/producer Ter
EXTD=ry Knight, who had provided them with a perhaps spurious, but eff
EXTD=ective persona -- the Rock & Roll Ubermensch -- they too found th
EXTD=emselves without a personality. But with a recognized leader, Mar
EXTD=k Farner, they quickly and smartly retreated to the homiletic "We
EXTD='re an American Band," rekindling the connections between their c
EXTD=raft and the traditions founded by Elvis Presley, Chuck Berry, Li
EXTD=ttle Richard and their contemporaries. Chicago and Three Dog Nigh
EXTD=t simply can't make those connections, because they are too roote
EXTD=d in pop traditions, as opposed to rock tradition.\n\nBut pop is 
EXTD=also a commodity, rock is now merging into pop, and all three of 
EXTD=these bands are pop in that sense and popularizers as well. Their
EXTD= audiences are comprised primarily of people who didn't experienc
EXTD=e the pre-Woodstock rock explosion firsthand and who do not sense
EXTD= these groups' inauthenticity. Part of the post-Woodstock idea pr
EXTD=esumes that the previous era was somehow magically superior to th
EXTD=e present. Whether or not that's true -- I think it is too soon t
EXTD=o tell -- the result has been instant nostalgia. Thus, Grand Funk
EXTD= is a power trio (now a quarter) for those who missed Cream; Thre
EXTD=e Dog Night, the world's most popular Vegas lounge act, for those
EXTD= who've never experienced nightclub or vaudeville entertainment; 
EXTD=Chicago, a jazz group for those who have neither the industry nor
EXTD= the inclination to seek the real thing.\n\nThese groups don't ne
EXTD=cessarily share the same audience. Grand Funk was able to capture
EXTD= those who want to feel the old-style commitment that pre-Woodsto
EXTD=ck rock entailed. Three Dog Night and Chicago have more passive a
EXTD=udiences to go with their more passive music. As a result, Grand 
EXTD=Funk's music may not last, but their concerts and albums may at l
EXTD=east be remembered as events. Their work had an effect that trans
EXTD=cended the specific situations in which it occurred. That event h
EXTD=ad its darker side -- it occasionally seemed like an American ver
EXTD=sion of a Nuremberg rally -- but it was also exhilarating. Grand 
EXTD=Funk had fans and those fans had a commitment to that group and i
EXTD=ts simple, populist ideology which almost no other group since Wo
EXTD=odstock has been able to inspire.\n\nThree Dog Victory\n\nOn the 
EXTD=other hand, last summer Three Dog Night proclaimed a victory over
EXTD= the Beatles because they had topped several of the latter's atte
EXTD=ndance records in various stadiums and arenas around the nation. 
EXTD=We were to infer from this that Three Dog Night had surpassed the
EXTD= Beatles in the area where they thought it counted most: numbers.
EXTD=\n\nThat inference is ridiculous, not only because the Beatles ma
EXTD=de art, but also because Three Dog Night's concerts were just big
EXTD=ger shows. There were no riots, no screams, no lust, no passion. 
EXTD=Socially, Three Dog Night is a cipher, with all the magic and mys
EXTD=tery of a five o'clock traffic jam. Magic and mystery were just w
EXTD=hat made the Beatles' and Grand Funk's concerts -- events. Simila
EXTD=rly, Chicago could sell out Death Valley, and it would still be j
EXTD=ust another rock concert.\n\nThree Dog Night's and Chicago's buye
EXTD=rs aren't fans, but consumers. Fanaticism requires something abou
EXTD=t which passion can be worked up. Creating passion for a rock gro
EXTD=up without an interesting persona is as impossible as creating pa
EXTD=ssion for Gerald Ford. And that's the reason Chicago and Three Do
EXTD=g Night haven't been able to capitalize on critical animosity as 
EXTD=Grand Funk has. The GFR began by asking, "If Grand Funk is happen
EXTD=ing, and the critics ignore them, then how hip can the critics be
EXTD=?" Their audience, instinctively rebellious, took the hint. Buyin
EXTD=g a Grand Funk record became a gesture of commitment, a signal th
EXTD=at the purchaser was an insider.\n\nThree Dog Night recently ran 
EXTD=a six-page, full-color ad in the music trade magazines (that neve
EXTD=r give bad reviews) and thundered, "The Public be denied? Never!"
EXTD= Their argument was that if it sells it's good and that critics w
EXTD=eren't doing their bit by helping sales. "We've found our particu
EXTD=lar niche: entertainment," said lead guitarist, Michael Allsup. "
EXTD=We've sold millions of records and hundreds of writers receive pe
EXTD=rformance royalties and publishing royalties because we do care a
EXTD=bout contributing substantially to the music world."\n\nYet, in t
EXTD=he aftermath of their extraordinary economic success, Three Dog N
EXTD=ight--like Chicago and Grand Funk-- can't resist the lure of resp
EXTD=ectability (the one goal left to conquer) and so have chosen to n
EXTD=ow grace us with the very antithesis of their own argument about 
EXTD=simple entertainment--a concept album. The most effective concept
EXTD=ual moment on Hard Labor comes on the cover --a mannequin giving 
EXTD=birth to the group's latest slab of vinyl. Inside are two songs b
EXTD=y Daniel Moore, who with B.W. Stevenson wrote "Shambala," but nei
EXTD=ther song is as good as that one. A Jimmy Cliff song, "Sitting In
EXTD= Limbo," is well done, but certainly not up to the original.\n\nA
EXTD=llen Toussaint's "Play Something Sweet" is terrific, though it wo
EXTD=uld be even better were it half as long. In their advertising cop
EXTD=y, drummer Floyd Sneed suggests that Three Dog Night would like t
EXTD=o serve "an elegant banquet [for critics] ... on our gold records
EXTD=." At least the dish served on the one they get for Hard Labor wo
EXTD=n't have to be turkey.\n\nGrand Funk's new album, Shinin' On, is 
EXTD=good, but its best moments reflect producer Todd Rundgren's talen
EXTD=ts as much as the group's. "Loco-motion" is someone's idea of a d
EXTD=ance record; it gets more bearable, on the radio, the more you he
EXTD=ar it. Rundgren has loosened up the playing in general -- the ear
EXTD=ly GFR albums have so much bass it's little wonder they seldom go
EXTD=t airplay. They'd have shaken the speakers clean into the back se
EXTD=at.\n\nBut "Loco-motion," though amusing (could Todd be putting t
EXTD=he boys on?), isn't an anthem. Making an anthem is Grand Funk's s
EXTD=pecial delight. "I'm Your Captain" was one, and so was "Paranoid.
EXTD=" Their remake of "Gimme Shelter," however leaden, surely was, an
EXTD=d "American Band" was the best they'd ever done. "Shinin' On" mig
EXTD=ht have made the grade before but "American Band" set such high s
EXTD=tandards -- it even had an interesting lyric -- that this really 
EXTD=won't do Still, the 3-D cover is nice, the sort of second effort 
EXTD=that turned a pack of Midwestern underachievers into a major forc
EXTD=e in rock.\n\nChicago Ambition\n\nChicago VII is about as ambitio
EXTD=us as their other six: very; and just about as successful: one-qu
EXTD=arter. Unfortunately, Robert Lamm's high intentions don't make li
EXTD=stening to the excess any more pleasant.\n\nOne of the mysteries 
EXTD=of Chicago is their penchant for multiple-record sets, going as h
EXTD=igh as four. Lots of groups survive and even prosper while puttin
EXTD=g out one-record sets with a single listenable side. Chicago is t
EXTD=he only group I know who dilute their interesting material three 
EXTD=to one.\n\nThe horn charts here are, as usual, hackneyed, but eff
EXTD=ective. Guitarist Terry Kath, also as usual, is subject to such i
EXTD=ncredible gaffes that he ruins many an otherwise unobjectionable 
EXTD=-- if not yet thrilling--cut. Chicago VII isn't as good as Chicag
EXTD=o VI, of course, but it's easy to see why. Chicago VI was one rec
EXTD=ord, on which there were two Top 40 hits. The only hit I can hear
EXTD= on this one is "Wish You Were Here," on which Beach Boys Al Jard
EXTD=ine, Carl and Dennis Wilson, step in for some back vocals and tak
EXTD=e over.\n\nProving once again that, despite all the obfuscations,
EXTD= talent will out. (RS 161) -- DAVE MARSH
EXTT0=
EXTT1=
EXTT2=
EXTT3=
EXTT4=
EXTT5=
EXTT6=
EXTT7=
EXTT8=
EXTT9=
EXTT10=
EXTT11=
EXTT12=
EXTT13=
EXTT14=
PLAYORDER=
