Chicago V [Bonus Tracks]

Chicago V [Bonus Tracks]

by Chicago
4.6 5

CD(Remastered / Bonus Tracks)

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Overview

Chicago V [Bonus Tracks]

With four gold multi-disc LPs and twice as many hit singles to its credit, Chicago issued its fifth effort, the first to clock in at under an hour. What they lack in quantity, they more than make up for in the wide range of quality of material. The disc erupts with the progressive free-form "A Hit by Varese" -- which seems to have been inspired as much by Emerson, Lake & Palmer's Tarkus (1971) or Yes circa Close to the Edge (1972) as by the Parisian composer for whom it is named. Fully 80 percent of the material on Chicago V (1972) is also a spotlight for the prolific songwriting of Robert Lamm (keyboards/vocals). In addition to penning the opening rocker, he is also responsible for the easy and airy "All Is Well," which is particularly notable for its lush Beach Boys-esque harmonies. However, Lamm's most memorable contributions are undoubtedly the Top Ten sunshine power pop anthem "Saturday in the Park" and the equally upbeat and buoyant "Dialogue, Pt. 1" and "Dialogue, Pt. 2." Those more accessible tracks are contrasted by James Pankow's (trombone/percussion) aggressive jazz fusion "Now That You've Gone." Although somewhat dark and brooding, it recalls the bittersweet "So Much to Say, So Much to Give" and "Anxiety's Moment" movements of "Ballet for a Girl in Buchannon" found on Chicago II. Terry Kath's (guitar/vocals) heartfelt ballad "Alma Mater" seems to be influenced by a Randy Newman sensibility. Lyrically, it could be interpreted as an open letter to his generation; lines such as "Looking back a few short years/When we made our plans and played the cards/The way they fell/Clinging to our confidence/We stood on the threshold of the goal/That we knew, dear" effectively recall the monumental world events that had taken place during the late '60s and early '70s. Likewise, there is an undeniable one-on-one intimated in the verse "And though we had our fights/Had our short tempered nights/It couldn't pull our dreams apart/All our needs and all our wants/Drawn together in our heart/We felt it from the very start." This is a fitting way to conclude the album, if not the entire troubled era. [Due to the time constraints of a single-disc LP, Chicago never issued a studio version of the mini political epic "A Song for Richard and His Friends." It had been worked up and performed live while touring behind Chicago III (1971), and appears as a standout on the much maligned At Carnegie Hall, Vols. 1-4 (Chicago IV) four-disc concert package (1971). Some reissues of Chicago V included among its supplemental materials an eight-plus minute instrumental studio version of the track. Also featured as "bonus selections" were a seminal rendering of Kath's powerhouse "Mississippi Delta City Blues" -- which would be shelved for nearly five years before turning up on Chicago XI (1977) -- and the 45 rpm edit of "Dialogue, Pts. 1-2."]

Product Details

Release Date: 08/20/2002
Label: Rhino
UPC: 0081227617523
catalogNumber: 76175
Rank: 32787

Album Credits

Performance Credits

Chicago   Primary Artist
Peter Cetera   Bass,Vocals
Terry Kath   Guitar,Vocals
Lee Loughnane   Percussion,Trumpet,Vocals
James Pankow   Percussion,Trombone
Walter Parazaider   Percussion,Woodwind
Daniel Seraphine   Conga,Drums,Bells
Robert Lamm   Keyboards,Vocals

Technical Credits

Randy Newman   Composer
Don Heckman   Liner Notes
James William Guercio   Producer
Wayne Tarnowski   Engineer
Maria Villar   Art Direction
Steven Chean   Editorial Research
Nick Fasciano   Contributor
Tim Scanlin   Liner Note Coordination
Robert Lamm   Composer

Customer Reviews

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Chicago V [Bonus Tracks] 4.6 out of 5 based on 0 ratings. 5 reviews.
lovetorose More than 1 year ago
CHICAGO V was the next to last great Chicago album. " check out VI as well". this is their first single lp. up to now they released 3 doulble lp's and a quadruple lp live set. dialogue pt 1 & 2 is Chicago at their best. this album also mixes avant jazz with beautiful harmonies. i love that they have many different sonwriters in the band , but it ultimatley has a cohesive quality to it that even if you don't know a particular song you still know that this is CHICAGO.
Guest More than 1 year ago
Chicago's fifth album was a turning point for the band, into more pop-oriented territory. However, their songwriting was still at it's best, as this album proves. It was their first single album, so filler is minimized, and the production is great. Look past the singles for some underrated songs - like "All is Well," a personal favorite. It's a tight little record that belongs in any Chicago collection.
Guest More than 1 year ago
Unlike Chicago Transit Authority, Chicago II, or III, this album definitely has a more commercial and pop-oriented sound to it. Notice for example, "Saturday in the Park", Chicago's first hit to depend less on its horn section than on pure rhythm. And strangely enough, as big of a fan as I am of the band's first 3 albums, this one doesn't bother me. For somehow- even though this album went number 1 on the charts and went several times platinum- the innovative use of instruments and 3 vocalists that was Chicago's standard make this album feel like a personal effort. Listen to Kath's solo guitars in "While the City Sleeps" or the horn section in "Now that you've gone". Chicago V finds the band disciplining their spectacular musical talents. It's unfortunate that the band would soon worry solely about commercial success and no longer about musical ambition. And "Dialogue" is the last socially aware song by Chicago that could be considered remotely sincere (consider "Harry Truman", if you must, on VIII). In all, though, for those of us looking back on 1970s jazz-rock, Chicago V deserves some consideration.
Anonymous More than 1 year ago
Anonymous More than 1 year ago