Chicago VI

PAGE INITIATED:  APRIL 26, 2003.

LAST UPDATED:  SEPTEMBER 3, 2005!

Chicago VI

Originally released as Columbia KC 32400 in June, 1973.
Peak Hot 200 Album chart position:  #1.
Reissued as Chicago Records 3006 in 1995.
New remastered edition reissued as Rhino R2 76176 on August 20, 2002.

Produced by James William Guercio for Poseidon Productions.
Engineered by Wayne Tarnowski, assisted by Jeff Guercio.
Mixed by Phil Ramone, assisted by Richard Blakin.
Recorded and mixed February, 1973 at Caribou Ranch, Nederland, CO.

Cover design by John Berg and Nick Fasciano.  Cover logo by Nicholas Fasciano.
Cover produced by American Bank Note Company.
Photographs by SBarry Feinsteineinbricker/Houghton.

THE BAND
Robert Lamm -- Keyboard and lead vocals
Terry Kath -- Guitar and lead vocals
Peter Cetera -- Bass and lead vocals, harmonica on track 8
Daniel Seraphine -- Drums and percussion
Lee Loughnane -- Trumpet and background vocals
James Pankow -- Trombone
Walter Parazaider -- Woodwinds and background vocals

FEATURED GUEST PERFORMERS
Laudir Soares De Oliveria -- Congas
Joe Lala -- Congas
J. G. O'Rafferty -- Pedal Steel

REVIEWER'S NOTES

Around the time Chicago recorded this album, CBS Records changed its policy which required its artists to use only the company's own studios.  JWG took advantage of this to build his own studio (Caribou Ranch); start his own record label (appropriately called Caribou and distributed by CBS); and make his first foray into movies, ELECTRA GLIDE IN BLUE, filmed and recorded during the hiatus between V and VI, and featuring several of the band members in starring roles, as well as performing on the soundtrack.

Chicago VI continued the trend set by the previous album in shorter, tightly-arranged and well-performed tracks (only three of the 10 clock in at longer than 4:00), as well as Robert Lamm's mastery of songwriting (5 of 10).  As with Chicago V, there are no suites, and no multiple movements or split tracks.  It was the first of five studio albums they would record at JWG's custom built Caribou Ranch studio, 8,000 feet high in the Colorado Rockies, about an hour's drive from Boulder.  It was also the second in a string of five consecutive albums to hit #1 on the album charts.

"Just You 'N' Me" and "Feelin' Stronger Every Day" are still fan favorites 30 years on.

One should note that just about every track on this album is a ballad, with the two singles both hitting the Pop Top 10; it wouldn't be until three years later that the ballads would become the centerpiece of Chicago's most in-demand music.

This album has (and, IMHO, will continue to) stand the test of time and the ever-changing tides and tastes (and even those infamous 'open mouth, insert both feet, echo internationally, and alienate the record-buying public' RIAA presidents) of the music industry.

DID YOU KNOW...?

...that this is the first Chicago album to feature guest performers?  Danny brought in Brazilian percussionist Laudir De Oliveira, an alumnus of Sergio Mendes' group Brasil '66, as a sideman to help keep the rhythm section in sync.  Laudir's work here and on the next album would get him an appointment as a featured member from 1975-1980.

...that this is the first Chicago album to feature a picture of the band on the front cover?  The small photo appears at the top of the currency note that graces the cover.

...that the horn section had to double- and triple-track their parts?  The change in altitude from New York and LA to Colorado was the difference.  The horn section had to take more frequent breaks (and, of course, inhale some tanked oxygen) to complete their parts, going until 3:00 AM.  

...that not everybody in the band was comfortable with the change in recording venue from New York to Colorado?  Robert attributes this to the band's relative lack of studio recording experience outside what they had done as a group.  Robert also relates that this was the start of their education about the music business, where they staretd to take more of an interest in things about what clauses in their contracts meant, and so on.  JWG had been serving as Chicago's manager since he moved them out to LA in 1968.  This dawning awareness would lead to JWG's being fired four years later.  Despite the band's reaction to the new surroundings, the sonic quality of their work at Caribou was state-of-the-art, and definitely (please pardon the pun) snowed over what they had done previously.

MY TRACK-BY-TRACK REVIEW

01) Critic's Choice (Robert Lamm) -- 2:43
(Vocal:  Robert Lamm)
Issued as B-side of Columbia single #4-45933 on September 7, 1973.

"What do you want?  What do you want?"  Robert takes a stab at the music critics who didn't seem to understand what the band's music was about, rightly noting how they have the power to "play God" with the careers of music artists.  Noteworthy about this song is that it's only Robert singing and playing piano here; this type of performance would also appear in some of their future efforts, most notably on Chicago XIV in 1980.

02) Just You 'N' Me (James Pankow) -- 3:49
(Lead Vocals:  Peter Cetera)
Issued as Columbia single #4-45933 on September 7, 1973.  Peak position:  Pop #4, AC #7.

This song started a trend for Jimmy's future songs, drawing upon personal problems in his romantic relationships, a trend that continued up through his 1997 track from the first Heart of Chicago album, "The Only One".  Peter delivers great performances all around, and Walt contributes a great sax solo, one that gets extended (a la "It Better End Soon") in concert performances to this day.

03) Darlin' Dear (Robert Lamm) -- 2:55
(Lead Vocals:  Robert Lamm)

A nice up-tempo jazzy blues tune, with a very forceful vocal from Robert, and great performances all around.  Check out Terry's sizzling slide guitar work!

04) Jenny (Terry Kath) -- 3:29
(Lead Vocals:  Terry Kath)
Issued as B-side of Columbia single #4-45880 on June 5, 1973.

Terry chips in with a blues-inspired ballad about an ex-girlfriend.

05) What's This World Comin' To? (James Pankow) -- 4:58
(Lead Vocals:  Robert Lamm, Peter Cetera, Terry Kath)

Chicago's requisite social commentary song for the album. Up-tempo beat, and rock-solid performances all around, with Robert, Peter and Terry trading off vocals at different points.

06) Something In This City Changes People (Robert Lamm) -- 3:42
(Lead Vocals:  Peter Cetera, Terry Kath, Robert Lamm)

A rare vocal where all three of the vocalists sing at once, and Robert alone does the bridges.  A great jazzy pop ballad, closing with a brief flute by Walt.

07) Hollywood (Robert Lamm) -- 3:54
(Lead Vocals:  Robert Lamm)

A nice up-tempo jazzy blues tune about the "crazy neighborhood (...) lovely ladyhood" and the TV gossips.

08) In Terms Of Two (Peter Cetera) -- 3:27
(Lead Vocals:  Peter Cetera)

Peter adds another country tune to the mix, with J. G. O'Rafferty delivering a great performance on Pedal Steel, a type of guitar Terry never really got the hang of.  Peter does the harmonica bits, including a nice rendition of "Oh, Susannah!" at fade-out (remembering what Walt did with the flute bits on "It Better End Soon" for Chicago IV).

09) Rediscovery (Robert Lamm) -- 4:48
(Lead Vocals:  Robert Lamm)

A nice dreamy jazz pop ballad about reevaluating and reconciling a relationship.

10) Feelin' Stronger Every Day (Peter Cetera-James Pankow) -- 4:14
(Lead Vocals:  Peter Cetera)
Issued as Columbia single #4-45880 on June 5, 1973.  Peak position:  Pop #10.

"Knowing that you would have wanted it this way, I do believe I'm feelin' stronger every day..."  Jimmy's lyrics again derive from a break-up, and about being ready to move on.  Outstanding performances all around.

BONUS TRACKS ON 2002 REMASTER

11) Beyond All Our Sorrows (Terry Kath Demo) (Terry Kath) -- 7:02
(Vocal:  Terry Kath)

Terry does a "Critic's Choice" type demo of his own.  A great soulful vocal with only piano accompanyment (presumably by Terry).  Recorded 5/1973.

12) Tired Of Being Alone - with Al Green (Al Green) -- 4:07
From the Television Special Chicago In The Rockies.  Recorded 6/27/1973.
(Lead Vocals:  Al Green)

A great lost gem of a performance, as Chicago meets Al Green, and the jam recorded here is most excellent, indeed.