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Chicago's latest release is a re-release of, what was once bootleg, Stone of Sisyphus. (The release date was intended to be 1993, and the album sounds it). This album's release, on Rhino records, is one of 23 compilations and re-releases Rhino has done for Chicago in the past 6 years. The band's current line-up contains 4 out of 8 orriginal members since the bands debut in 1967. Like The Stones or Pink Floyd, Chicago began playing rock and roll in the late 60's and continues to tour today. Change of time means change of sound, and out of those three bands Chicago may, for good or worse, be the last men standing at he end of the road.

I, like many Generation X members, grew up on Nirvana, STP and eventually the birth of TRL. The chances of us even knowing or caring about a band called Chicago were about as small as our wallets. So when I first popped in Stone of Sisyphus all I knew was, "oh this band's got a horn section and they sing that song 25 or 6 to 4". That single in particular, released in 1970 on Columbia records, reflects Chicago's early and more experimental jazz-rock sound. The heart pounding sounds of 25 or 6 to 4 are raw and powerful. (Fun Fact: The song uses the same chord progression as Green Day's "Brain Stew").

The Stone of Sisyphus is more up the alley of exaggerated epic, late 80's pop rock. Its dominant synthesizers and electronic drums are the recipe for a dated sound, but after all it was recorded in 1993. Think the musicianship of Phil Collins with darker Michael McDonald and a killer horn section. Lyrically, it reeks of relationship woes and cliché’s present in most 90's pop hits. In, It Takes A Lifetime bassit/singer Jason Scheff belts  "Love is not some harmless game, it’s played straightly for keeps." I don't even know what that means.

Musically the album is impressive and entertaining. The band's got chops, that is, the players are well trained and know their shit. At times there is too much going on.  Scheff himself recall sin the liner notes as thinking the title track Stone of Sisyphus had too many keyboards on it. I would have to agree, for the entire album has layers of sound upon layers of sound. In Here With Me (A Candle In The Dark), a classically orchestrated but syth’d-out section stands out displaying the bands well rounded capabilities. The catchiness is truly infections. But infectious in the way you can’t get the songs from the dentists’ office out of your head.

Despite its cheese, the music has an element of charm and gracefulness. Chicago have a very long way, and to still be releasing records and touring in their third decade is an incredible feat. Hats of to you Chicago, but perhaps officially releasing, and clogging the music industry artery with this record wasn’t the smartest decision. After all, the “true” fans have probably already heard it.