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This CD was well worth the wait. The band went back to it's roots by bringing their trademark horns to the forefront again. Only song that's not so good in my opinion is the track where Robert Lamm tries to rap. If you like the early '70s Chicago sound and the horns, I recommend buying it.
Verified purchase: Yes | Condition: New
Recorded in 1993, Stone of Sisyphus didn't appear as scheduled in 1994 due to Chicago's record label, Warner, believing the album to be too uncommercial. As it often happens with unreleased records by major acts, a legend built up around the scrapped record, at least among devoted Chicago fans, the kind who would appreciate the musical stretching found on Stone of Sisyphus. Frankly, they may be the only group to appreciate the departures on Stone of Sisyphus, as it's a curious creature -- a splashy, expensive mainstream album that's restless yet not quite experimental but entirely devoid of pop songs. If this had been the Chicago of the early '70s, who specialized in ten-minute jazz-rock songs on their series of double albums, perhaps it would have been easier for the label to accept the variety of sounds here, but this was a Chicago coming out of five years of big placid adult contemporary hits -- songs that courted an audience that would bristle at the stiff funk of "Mah-Jong" or the Jordanaires singing harmonies on the airy "Bigger Than Elvis." Surely, any listener would shudder at "Sleeping in the Middle of the Bed," an absurd socially conscious rap track by Robert Lamm that almost certainly was the final nail in the coffin for Warner, as it's hard to imagine any audience that would find this appealing. "Sleeping in the Middle of the Bed" also goes a long way toward illustrating just how odd Stone of Sisyphus is: it's tame compared to any other record from 1993-1994, but judged alongside Chicago's other albums it's flat-out bizarre, the sound of a group desperate for a departure in the wake of a flop (1991's Chicago Twenty 1), so the bandmembers will try anything different within the confines of their sound. Long time I was dream to listen the new work of Chicago and now my dream is over. Excellent music.Read full review
This is the album where Chicago was able to get back to their roots and feature the horns as part of the melody line. These numbers have energy,excitement and that familiar Chicago rock they're so famous for. The lyrics are sensitive and tender in the love songs, fun and enthusiastic in the faster ones. There's a nice blend of mellow and rock-out throughout the entire album. It is definitely a must buy.
Verified purchase: Yes | Condition: Pre-owned
Those of you who think of Chicago only in the context of their 80s ballads will be surprised by this CD, which almost didn't get to see the light of day. Disputes with their label caused the band to switch labels and in the process took so long to release this CD that it took on mythical proportions among fans. However, it was finally released after remastering by Peter Wolf, the producer. The band sounded newer than it had in years and even though some attempts were questionable, it was nevertheless something new (or old!). It's definitely different and, depending on your viewpoint about the band, welcome. It's just a shame that the debacle of getting it released seems to have undermined their desire/confidence to do something new: they don't even support this CD on tour any more than they supported the previous one (Chicago Twenty-1).Read full review
One of Chicago's best efforts.
Verified purchase: Yes | Condition: Pre-owned
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