Based or cringe?

Based or cringe?

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Crinsed

25 or 6 to 4 is the only song of theirs that I like, but I’ve only heard like two or three of their songs total. What else of theirs might I like?

big based

very cringe

They were only good for the first three or four albums and then turned into buttrock/pop.

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Chicago III [Columbia, 1970]
Duke Ellington never got away with a fifteen minute, six song suite titled "Elegy." What makes James William Guercio and his self-styled band of revolutionaries think they can? Sterile and stupid. C-

Live at Carnegie Hall [Columbia, 1971]
I'm not claiming to have actually listened to this four-disc set (you think I'm a nut?) But an event this monumental is too big to ignore and Chicago are a C minus band if ever I heard one. Anyway, the packaging offers contextual support for my opinion--shrink wrap so loose that prospective consumers buying it as a Christmas gift for their girlfriends will think they have a review copy, while the absence of sleeve liners means the only way to avoid scratching these plastic documents is to lay the whole shebang out on the coffee table and never touch it again. C-

Chicago VI [Columbia, 1973]
Any horn band that resorts to copping from Motown and America in addition to writing songs about critics is--how shall we say eet?--running out of good charts. C-

Meltdown [1980s]

Everything Rocks and Nothing Ever Dies [1990s]

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Should have given up when Terry Kath died. The 80s version of them was just repulsive on every level.

Based oldies radio core.

Probably the biggest critical punching band in the early 70s next to Sabbath and Grand Funk. There were several reasons I guess why they got shat on--one of them was that the band members were fairly anonymous and said they preferred to let the music speak for itself. This was a no-no to the rock critical establishment because they thought the whole concept was spooky and fascistic. Also the fact that the band was from their namesake city instead of the critical hotbeds in San Fran and New York. Chicago wasn't seen as a hip, cool place to the critics.

Admittedly it was pretty courageous to be a horn band in the late 60s when jazz was not at the peak of its popularity.

based poprock
their early shit is garbage

WILL YOU STILL LOVE ME FOR THE REST OF MY LIFE?

The first four albums are the only ones you need, you certainly don't need their later buttrock albums and you definitely don't need any post-Kath albums.

yikes!

Wait was this the review where he admitted he didn't even listen to the album and was rating it off the cover art?

extremely cringe

Based

I have Chicago VII, which, though on 1 CD, was actually a double album with a running time over 70 minutes.

It's not an album I play a lot. And not because it's sickeningly commercial pop, because it isn't. This album is probably as experimental and modern jazz as the band ever got, many of the tunes being instrumentals. It's kind of avant-garde (to my ears) and sort of mindless, meandering melodies and chord progressions.

The album DOES include a small handful of moments that prevent me from tossing the thing in the garbage. These include the terrific Wishing You Were Here (with several of The Beach Boys on background vocals), (I've Been) Searchin So Long, Call on Me, and Happy Man.

Could've been a solid single album. But, it was 1974 when labels indulged the excesses of bands that moved product. In the 60s or the 80s and later, someone working for the label, a guy in a suit, would've talked to the guys and said, "Just played your new album submission. Some real good stuff on there! I think we've got a killer 1 LP on our hands, and I'd like you guys to mull that over. Sleep on that possibility. As a double album, people will call this album 'interesting.' As a single album, they will call it 'a classic'."

But what do I know? I'm some homeless guy.

Saturday in the park and if you leave me now

I don't like them personally

boomerpilled

After the counterculture era wound down, they lost it and decided to go the route of safe, commercial radio fodder.

>There were several reasons I guess why they got shat on--one of them was that the band members were fairly anonymous and said they preferred to let the music speak for itself. This was a no-no to the rock critical establishment because they thought the whole concept was spooky and fascistic
And they liked rock stars with charismatic personalities they could write about.

The 80s stuff is terribly bland, awful adult contemporary/elevator music.

Basically anything from their first two albums

One day I'd like to compile a list of everything hack rock critics accused of being fascistic.

Starting with Dave Marsh's famous rant about Queen being the world's first fascist rock band.

Play bass in r&b/soul band, the horn fags LOVE their stupid Chicago songs but they never go over that great live

Dave Marsh hated everything that wasn't Springsteen.

Christgau was and still is the perfect embodiment of everything that was wrong with his generation of critics: a smug, cynical counterculture burnout who only cares about image and advancing an agenda while measuring an artist's worth by how often they're discussed in his small clique of likeminded NPCs.