For some strange reason, Chicago released very few live albums, at least if we stick to the official chain with Roman numbering. Chicago Live at Carnegie Hall was recorded in March 1971 and it would go all the 28 years before subsequent live album was released - Chicago XXVI. By comparison, Chicago have released far too many compilations in the category greatest hits . And there are two factors that make it extra difficult to understand that it has been so few live albums. Chicago has had plenty of concerts as possible source of great live album. And equally important - Chicago is a brilliant live band.

The latter assertion is well documented in Chicago IV, which is not the album`s formal title, but I use it here. The material on this album is taken from the previous three double studio albums.

Chicago Live at Carnegie Hall was also a period released as two double albums. The editions that underlie this review is 4-LP box-edition, in addition to the CD version was remastered in 2005. On this edition it was added a bonus CD with different takes from this 5-day concert cycle that not previously has been released. This bonus material also goes under the album name Unreleased Rarities from Chicago that Carnegie Hall , and is sold in pure digital form + is available on streaming-services like Spotify. But I have not noticed that it is sold separately on CD, just as part of the remastered release from 2005.

All material on Chicago IV is released earlier, with the exception of Song for Richard and his Friends . Thus we are dependent on the new editions having something new to add if this release will be interesting, other than a kind of greatest hits. And it has, to the greatest extent. Chicago was also at that time a seemingly disciplined band, which was a prerequisite for the occasionally intricate and precise brass arrangements should also function in concert context. For that reason it is not overwhelming externalised and vacated versions we get most songs. But it is sufficient that the bulk of the material gets an extra boost, especially for us who tend to prefer live recordings. While horn section is reasonably disciplined, it is often Terry Kath that stands for the most free exercises, but partly also Robert Lamm. But there are never any sign of real slippery, just creativity. And it is really a very nice combination - a good horn section combined with tone of he epoch's best guitarists and rock musicians. But it would be unfair not to include Robert Lamm also among those who contribute to making this a glorious rock album. Weexperience here perhaps better than the studio albums noting what a brilliant organist he was at it, I take the risk of assuming it is a Hammond B3. Along with the guitar of Terry Kath it becomes gold.

It is also an interesting exercise to compare Chicago Live at Carnegie Hall with subsequent concerts, partly in modern times. It is indeed here some of the key to the mystery surrounding Chicago is. I have in other contexts - particularly in the extended review of "NOW" Chicago XXXVI - expressed that it was something that slipped after the 10-12 first releases to Chicago. There are many different parameters that must be considered. But we do not come away that Chicago also today is a brilliant live band. They are a bunch of seemingly very nice, structured and talented musicians who make a heavy bet on every single concert. And technically they stand hardly behind of what they could perform at the beginning of the 70s, where many of them had barely left adolescence. And the material is very largely the same now as in the 70s.

And yet there is something that makes today's concerts never quite be the same as what we hear on this album recorded in 1971. I think that it has to withe the fact that there was someone in the crew then that was so sparkling rock musicians, that it is not entirely simply be recreating the musical atmsphere. We are talking primarily about Terry Kath, who was a unique guitarist, vocalist and music creater. He was not only a prominent guitarist in one of the world at that time premier band, he was alone one of the world's greatest rock musicians. Keith Howard is today guitarist is an eminent musician, but the musical personality of the format of Terry Kath, is an impossible task to follow. And thus today's Chicago Concert somewhat greater extent a brilliant pop / entertainer performance than the unique rock experience we get served on Chicago Live at Carnegie Hall.

The sound on Chicago IV

The sound of Chicago that Carnegie Hall is an interesting phenomenon. There will be a huge exaggeration to say that the sound is good, it is all too serious deficiencies particularly in timbre on the horn section, which is even more wispy than it is on the debut album. But the album has very good dynamics, and it makes you especially on vinyl edition gets a closeness that in many ways outweigh missing timbre characteristics.

On the remastered edition is sound improved, but it feels as if the dynamics are not quite as good as on vinyl.

Best-ever Chicago Album.

I have spent many extra keystrokes on the record review this time, and it is because I consider Chicago Live at Carnegie Hall to be the best Chicago albume ver, despite sound quality improvement. And it must surely only be like that when musical material is from the top three studio albums, and supplemented with some creative deviations that on some tunes are amazing, and on others in the worst case provides a recording that is as good as- and a bit different than the original.

I have the impression that there are many Chicago enthusiasts who have the first three studialbumene but have skipper this album. It is a gross neglect. And preferably they should procure vinyl edition - it provides the best live-felleing.

You can read the details about each track in the Chicago-Nerd department after the image below.

CD 1.

Vinyl page 1 :

1. • In the Country. (5-6)
     Written by Terry Kath. Studio Version originally on "Chicago II"
     
     Much more hilarious than the studio version. Great vocal dialogue between Terry Kath and Peter Cetera.
   
   
   • Fancy Colours. (4)
     Written by Robert Lamm. Studio Version originally on "Chicago II"
     
     Fancy Colours are not among my favorites. But the flute works better here than at Studio version and the magnificent but short guitar solo by Terry Kath towards the end gives a real boost. The same goes to a great ending.
   
   
   • Does Anybody Really Know What Time It Is? (Free form intro) (5)
     Written by Robert Lamm. Studio Version originally on "Chicago Transit Authority"
     
     On the studio version is this piano solo / intro integrated into the main part of DARKWTII, while it here is drawn as a separate track (applies LP version). On the CD ont he other hand it is included. This gives a deviation In tune numberig between LP and on the CD.
     Anyway this is a much longer piano intro of much over six minutes, where Robert Lamm`s fantasies also ambles back 25 or 6:02 4. Great lyrical imagination.
   
   
   • Does Anybody Really Know What Time It Is? (5)
     Written by Robert Lamm. Studio Version originally on "Chicago Transit Authority".
     
     Good! On LP version we also get the intro of South California Purples that fades out the pin goes in orbit loop near the center of the LP. This is natural skipped on the CD.
      

   Vinyl page 2

   ·        South California Purples. (5-6)
             Written by Robert Lamm. Studio Version originally on "Chicago Transit Authority"
   
             This great song with Blue  inspired structure is here over 15 min, compared to 6.25 at the studio version. And it's Terry Kath occupying the arena scant six minutes out in the song, in a long guitar solo that starts quite alone, but eventually go with the whole rhythm section + Robert Lamm on B3. On a bad day, maybe someone will argue that it gets a little too long drawn. This is not a bad day, and moreover, it is Sunday and we have an ocean of time. And how great it is! One detail that is worth noting is how good Robert Lamm is as organ player. Not necessarily particularly virtuosic but very musical and receptive.

   ·        Questions 67 and 68 (5)
   Written by Robert Lamm. Studio Version originally on "Chicago Transit Authority".
   
   One of Chicago's biggest hits of all time performed here with substantially more live feel than the original. This must of course be traded against the great precision not least of the horn section on the studio version is not quite on the same level. It's part of the game.

    

   Vinyl page 3

   ·        Sing A Mean Tune Kid. (5-6)
   Written by Robert Lamm. Studio Version originally on "Chicago III"
   
   Like the studio version is also here Terry Kath's vocals dominating. And I never cease to be fascinated by the intermezzo that starts at 2:02 and lasts half a minute, where the horn section and Tery Kath plays kind of unison.
   This edition is three and a half minutes longer than on Chicago III, and again it is Terry Kath who assigned to them in a dissolute solos which partially takes off on towards the end. Including Rock Around the Clock.

   ·        Beginnings (5)
   Written by Robert Lamm. Studio Version originally on "Chicago Transit Authority".
   
   Also here clearly more live feel than the studio version, especially towards the end with James Pankow and Lee Loughlane in the lead. Great end, very different from the studio version.
    

   CD 2.

   Vinyl page 4

   It Better End Soon.
   Written by Robert Lamm, Terry Kath and Walther Parazider.
    
   Here is this suite extended to 5 parts, against 4 of the studio version. And again it's Terry Kath that has gotten better place.

   ·        1st Movement (5+)
   
    

   ·        2nd Movement (5)
   
   Very much better and more interesting flute of W. Parazider than on the studio version.

   ·        3rd Movement (5-6)
   
   Guitar Solo by Terry Kath is always a highlight, also here.

   ·        4th Movement (5+)
   
   Today text performed by Terry Kath.

   ·        5th Movement (5-6)
   
   Return to the main part of the 1 ^st Movement
    

   Vinyl page 5

   ·        Introduction (5-6)
   Written by Robert Lamm. Studio Version originally opening tune on "Chicago Transit Authority"
   
   Not really different than the studio version, but something more live feel. Lee Loughnane provide some jazz associations with his trumpet solo. Before Terry Kath acquires the arena and reminds us that Chicago is a rock band with horn section, not a jazz rock band.

   • Mother (5-6)
     Written by Robert Lamm. Studio Version originally on "Chicago III»
     
     A little funny intermezzo is that Terry Kath while he verbally introduces this song, begins to strum Lullaby by Johannes Brahms on guitar.
     Very nice song, perhaps even a notch better than on Chicago III.
   
   
   • Lowdown
     Written by Peter Cetera and Danny Seeraphine. Studio Version originally on "Chicago III»

    

    Vinyl page 6

   Travel Suite
   Originally Chicago III. Here are just the first three parts of five played.

   ·        Travel Suite: 1. Flight 602 (5)
   Written by Robert Lamm.
   
   Strong Country-influenced song. The renditions quite similar studio version.

   ·        Travel Suite: 2. Motor Boat Thurs March (5)
   Drums Danny Seraphine.

   • Travel Suite 3. Free (5)
     Written by Robert Lamm.
     
     Rockin song, sung by Terry Kath as the main vocalist. Good, and extended considerably in relation to studio version, which includes good and long sax solo by Walt Parazider.
     
      
   • Where Do We Go From Here (4+)
     Written by Peter Cetera. Studio Version originally on "Chicago II"
     
     Still not my favorite, but slightly better than the studio version.
   
   
   • I Do not Want Your Money (5+)
     Written by Terry Kath and Robert Lamm. Studio Version originally on "Chicago III"
     
     Assuming that this is still Robert Lamm singing, quite unrecognizable.

    

   CD3

   Vinyl page 7

   ·        Happy Cause I'm Going Home
   Written by Robert Lamm. Studio Version originally on "Chicago III"
   
   Originally closing song on Travel Suite, but here they have edited production found to present the departed. Delightful "dialogue" at the start of the intro between unknown and "Jimmy". This is a song that gets a boost of live atmosphere.

   Ballet for a Girl in Buchannon
   Written by James Pankow. Studio Version originally on "Chicago II"
   
   The entire suite is here rendered complete.

   ·        Make Me Smile (5+)
   
   Good precision on horn section despite good live feeling.

   ·        So Much To Say, So Much to Give (5)
   
   Good

   ·        Anxiety's Moment (5)

   Fun vocals that are not present on the studio version. The whole song more downtempo than the original.

   ·        West Virginia Fantasies (5)

   ·        Colour My World (4-5)

   Something better than the studio version.

   ·        To Be Free (5)
   
   Good, but a little transport leg.

   ·        Now More Than Ever (5)
   
   Resume of Make Me Smile.
    

   Vinyl page 8

   ·        A Song for Richard and His Friends. (6)
   Written by Robert Lamm. Not previously published, but later appeared as an instrumental bonus track on rerelease of Chicago V on CD, released in 2002.
   
   A song that is both musically and politically daring, where they ask Richard Nixon to resign. One of the clearest examples of Robert Lamm`s political involvement.
   But musically this is very exciting composition. One of Chicago's finest. Intricate horn arrangement in combination with a very rocking song.

   ·        25 or 6:02 4 (5)
   Written by Robert Lamm. Studio Version originally on "Chicago II"
   
   Peter Cetera is even better vocals than on the studio version, with more live feel read. Otherwise perhaps Chicago's biggest hit, if we disregard some of the soft stuff that arose at the end of the 70s.

   • I'm a Man ​​(6)
     Written by Jimmy Miller and Steve Winwood.
     
     First covertrack in recent times decidedly identified as a Chicago song, and is one of my definite favorites. Exquisite interaction between Robert Lamm on Organ and Terry Kath on guitar is a bearing part of the song's identity. Confirming once more that Robert Lamm / had a very special grip on Hammond B3 (?)
      

Bonus Plate on remastered release 2005 - Unreleased Rarities from Chicago that Carnegie Hall ,

1. List (5)
   Written by Robert Lamm. Studio Version originally on "Chicago Transit Authority".
   
   A rendition with distinctly Live character. Like several of the tracks on this bonus CD has the sound noticeable worse than the original release of Chicago Live at Carnegie Hall.
   • Introduction (6)
     Written by Terry Kath. Studio Version originally on "Chicago Transit Authority".
     
     An alternative performance, obviously performed another night In this 5-day concert series. Perhaps even more hilarious than the main version of the LP version's page 5. Also here magnificent play of Lee Loughnane. And creative expression of Terry Kath. The bells, this song deserves to be part of this edition too!
      
   • South California Purples (5+)
     Written by Robert Lamm. Studio Version originally on "Chicago Transit Authority".
     
     A little laidback version initially. Terry Kath gets romp on this issue as well and playing sparkling. The sound soewhat better than the average of these bonus tracks.
   
   
   • Loneliness Is Just a Word
     Written by Robert Lamm and Terry Kath. Studio Version originally on "Chicago III»
     
     Sparkling performance of a medium good song makes it extremely good. Robert Lamm dazzles on Hammond B3.
   
   
   • Freeform Intro (Naseltones)
     Written (improvised) by Robert Lamm. Not released earlier.
     
     A somewhat lyrical piano imrovisasjon as recalling other pianointroer. Also here comes Lamm back 25 or 6:02 4, but in a different form than the intro to Does Anybody Really Know What Time It Is? main version on page 1.
   
   
   • Sing a Mean Tune Kid (6-5)
     Written by Robert Lamm. Studio Version originally on "Chicago III»
     
     Sparkling version, with very loose vocals by Terry Kath.
      
   • An Hour In The Shower. (5)
     Suite written by Terry Kath.  Studio Version originally on "Chicago III»
                    A Hard Risin 'Morning Without Breakfast
                    Off to Work
                    Fallin 'Out
                    Dreamin 'Home
                    Morning Blues Again Great performance by a good låtsekvens.
     
     
      
   • 25 Or 6:02 4- (5+)
     Written by Robert Lamm. Studio Version originally on "Chicago II"
     
     A little different intro. A rendition of it even. Thats very good.

Excluded songs from the first three studio albums.

These songs from the first three double studio albums are not included on Chicago Live at Carnegie Hall or Unreleased Rarities from Chicago that Carnegie Hall .

Chicago Transit Authority:

- Poem 58
- Freeform Guitar
- Prologue August 29, 1968.
- Someday (August 29, 1968).
- Liberation

Chicago II:

- Movin` In
- The Road
- Poem for the People
- Wake up Sunshine
- Memories of Love (Suite)
               Prelude
               AM Mourning
               PM Mourning
               Memories of Love

Chicago III:

- Loneliness is Just a Word
- What Else Can I Say Travel Suite 4. Free Country 5. At the Sunrise.


 

Elegy (Suite)

1. When All the Laughter Dies in Sorrow 2. Canon 3. Once Upon a Time ... Progress? 4. The Approaching Storm 5. Man vs. Man: