Chicago VII
By Bruce Ramsay

When you listen to this album, it sounds as if the band really enjoyed what they were doing.

It was designed to be a jazz album, which they did quite well. By being a 2-record set, they were able to express different types of songs.

Danny, Walt, and Jimmy wrote the songs on side one, Prelude, Aire, Devil's Sweet. These songs are beautiful pieces of music that show just how smooth and beautiful the band can play. Terry's guitar solo on Aire, Danny's drum solo on Devil's Sweet, and Walt's flute and Sax playing blend in wonderfully with the rest of the music.

Side 2 starts with a 3-song set written by Robert: "Italian From New York" (featuring a wonderful blend of Moog synthesizer and Terry's talking guitar) "Hanky Panky" (a smooth, excellent jazz number), and "Lifesaver" (a piano rhythm based song that would be a prelude to Chicago VIII songs). This song also includes Pete's "Happy Man", which was a #1 hit in Australia. Interesting thing about this song is that Terry played bass. Pete and James William Guercio played guitar on a few songs as well.

Side 3 begins with a 2-song set written by James Pankow: "(I've Been) Searchin' So Long" (a song performed in the same style as "Feelin' Stronger Every Day" from VI in that it starts slow, and builds to a rockin', rhythmic ending). "Mongonucleosis", is a heavily brassy tune with some fun ad-lib vocals. The side ends with Terry's "Song Of The Evergreens" a winter lover's song (It features Lee's first lead vocal), and "Byblos", an acoustic number with Terry playing bass and guitar, as well as lead and background vocals.

Side 4 begins with "Wishing You Were Here" by Pete. Terry sings lead in a softer tone and plays bass. Some of the Beach Boys' members sing background vocals. "Call On Me" is Lee's first hit song, featuring Cetera's ballad friendly voice and Terry's wonderful rhythm guitar, coupled with the punchy horn section. One of my personal favorites. "Woman Don't Want To Love Me" is written by Robert Lamm. Pete sings lead with a stronger voice, and Terry uses once again his infamous talking guitar style. The horn section plays with a bluesy style. Last is Robert's "Skinny Boy", a soulful song that also appeared on his solo album of the same name. Terry plays bass and the Pointer Sisters sing background vocals. Also unique about this song is Robert's gutsy, harsh lead vocal. The horn section did a wonderful job blending in with this piece as it was originally made on Lamm's solo album without horns. Another interesting thing about this song is it has no guitar on it, and yet, you don't even notice that it's missing.

Chicago VII was a unique album with different experiments in vocals and instruments, and is one of my favorites.