Just You 'N' Me (2002 Remaster)

Just You 'N' Me (2002 Remaster)

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You just know something's wrong, just by reading the opening track's title, Critic's Choice (even if there is no doubt there is a negative tinge to it), but lyrics aside, the AOR tooting its head to the fore is now out in the open, and we get some very insipid songs from a formerly great band. And it is not the following track Just You And Me that will erase that nauseous feel, either. Don't get me wrong, the things we love in Chicago are still there, but in much smaller quantity and usually drowned in a AOR soup that discourages an attentive listen. Darlin' Dear is slightly better, due to Kath's slide guitar and good horn replies. The Kath-penned Jenny is a very weak track, which coupled with Alma Mater on V, makes him a spent force in the writing dept. the first side opens on a rare good track: What's This World Coming To, a funky brassy tune that the better Kool, Earth or War wouldn't disown. Definitely the album-saver, this track is the only one here that would find space on their first three albums. The flipside doesn't fare much better, with a slow Steely Dan-esque Something In This City or the following Hollywood (just the track title tells you how bad these tracks are) and the disastrous In Terms Of Two or the closing Feelin' Stronger, both penned by Cetera, the latter showing his rapid climb to control, leading to the disastrous if You Leave Me Now, in a few whiles. Only Rediscovery is above the (album-poor) average track, and had this closer found space on the previous album (V), it would've pushed it from good to very good.As I was saying at the end of the top paragraph, this album is made of short songs and this was not auguring well, and after listening, it comes as no surprise that the two longer tracks (close to 5 mins) are from far the best of this otherwise atrocious album. Best avoided. social review comments Review PermalinkPosted Thursday, April 15, 2010 Review this album Report (Review #277960)

Following the commercial success of \"Chicago V\", in the US at least, Chicago continued their pursuit of mass popularity with this their second single LP release. By this time, much of the rest of the world, and especially the United Kingdom, had lost interest in the band. Their home nation however continued their loyal support sending the album to the top of the Billboard chart. Two further singles were gleaned from the album (\"Feelin' stronger every day\" and \"Just you'n'me\"), both of which made the US top 10. Apart from the complete absence of any suites or multi-part numbers, the most telling aspect of the track list is the sub- five minute running time of all ten tracks, making this the band's shortest album to date. While the songwriting credits are slightly more diverse than on \"V\", Robert Lamm still contributes half of the tracks here. The core line up remains firmly intact with three guest musicians being brought in to add additional percussion and pedal steel. Included in these is Laudir de Oliveira who would also be listed as a guest on the following album before being promoted to full band membership in 1975. Producer James William Guercio took charge of the recordings, which were undertaken at his ranch in Colorado. The transition from recording in familiar surroundings in New York to being firmly directed by the studio owner was sometimes hard for the (still) young members of the band to handle, this being the first time they had really been asked to give up artistic control over their product. The physical challenges of recording some 8,000 feet above sea level also brought its own challenges, particularly for the brass section.Robert Lamm's opening \"Critic's choice\" is a piano and voice only appeal to the music press to give the band a break. James Pankow's \"Just you'n'me\" firmly points to the Peter Cetera (\"if you leave me now\") era to come, although to its credit the track does feature some good brass. While these two tracks would have made for good openers to one of the band's early albums, here they are among the album's highs. The following \"Darlin' dear\" is a quite dreadful mess, with the band members seemingly doing their own thing behind some average swamp rock. Terry Kath's \"Jenny\" finds him doing his best to sound like David Clayton Thomas (BS&T), but the songs is prosaic at best.James Pankow's other contribution, \"What's the world coming to\" is a Motownesque mix of The Temptations and Stevie Wonder. It largely works, but it simply was not what Chicago were all about. The slightly more complex arrangement for the downbeat \"Something in This City Changes People\" does make this track rather more interesting, but at under 4 minutes, it is all too fleeting. \"Hollywood\" sits well back to back with \"Something...\", the two tracks making for a decent middle section for the set. Peter Cetera's contribution \"In terms of two\" once again points towards \"If you leave me now\", although the track is more whimsical, Cetera's voice and the harmonica accompaniment bizarrely sounding a lot like Lindisfarne. The funky, semi-whispered \"Rediscovery\" misses the mark completely in my book, superfluous instructions such as \"guitar\" simply making this directionless attempt at a style alien to the band all the more cringe-worthy. The album closes with the other single released from it, a Cetera/Pankow composition entitled \"Feelin' stronger every day\". Here the muted brass backing and schmaltzy multi-tracked vocals are clearly aimed at the singles market, as is the repeated final chorus, and in the US at least it worked.In all, a decidedly weaker album from the band. The attempts at diversification largely misfire, and the lack of anything substantial from their proven field of excellence combines to make this an album to hear a couple of times and file away.The CD remaster from 2002 includes 2 bonus tracks. The first of these is a Terry Kath demo of \"Beyond our sorrows\" featuring just Kath's vocals and piano backing. While Kath puts a bucket load of emotion into this 7 minute dirge, it seems the rest of the band were not as impressed. The second bonus is a cover of Al Green's \"Tired of being alone\", featuring a guest appearance by the song's composer. Green's use of brass on his own recordings was clearly an influence on Chicago, and here the combination is nothing short of explosive. This rendition alone make the CD release of album worthwhile. The performance is taken from a TV appearance by the band in 1973. social review comments Review PermalinkPosted Monday, December 6, 2010 Review this album Report (Review #344487)

Another curse that came with mass popularity was that the media's observers and/or commentators ofthe music scene who once fawned all over you for being novel and innovative now dismissed almostevery record you put out as being stale and hackneyed whether your audience liked the contents ornot. Chicago was being attacked for these perceived indiscretions mercilessly as were the giants ofthe biz as diverse as Led Zeppelin and former members of The Beatles. That's just the way the gameis played but keyboard man Robert Lamm evidently had stomached all he could from those snobby bozosand the group agreed with his disgust, opting to open this album with a simple vocal/piano pieceentitled \"Critic's Choice.\" It's an arresting, slightly jazzy ballad of exasperation in whichRobert tries to explain that they're all trying their damndest to maintain their integrity but,realizing the critics would ignore his plea for leniency anyway, he strikes back with snarky lineslike \"What do you really know/you parasite/you're dynamite/an oversight/misunderstanding what youhear.\" At least he had the balls to fight back. This album is also significant in that it marksthe emergence of trombonist James Pankow as a composer of shorter, more accessible tunes. In thepast he'd contributed and arranged several of the multi-layered, involved epics that characterizedtheir early offerings but here, with the love song \"Just You 'n' Me,\" he showed he was cultivating aknack for penning radio-friendly fare that would eventually change the band's image (for better orworse depending on one's point of view). This romantic number takes advantage of bassist PeterCetera's suave voice and avoids being overly formulaic via the airy instrumental segment thatfeatures the swooping soprano sax of Walter Parazaider. After the previous LP only produced one bighit it was a relief to the suits at Columbia to see it rise to #4, further reinforcing thecommercial continuity they'd been praying the band would develop.Lamm's rowdy \"Darlin' Dear\" owns a funky attitude that's extremely welcome at this juncture andguitarist Terry Kath's rude bottleneck slide keeps things from becoming too slick and polished. Terry's weak \"Jenny\" doesn't work as well, though. The song's too-busy rhythm track detracts fromthe groove this ballad desperately needed to even have a chance of being memorable. James' \"What'sThis World Comin' To\" sports another funkified feel that revives the sagging momentum in the nick oftime. The punchy horn section asserts their strong will often and the whole ensemble displays a lotof cooperative enthusiasm throughout the number. It must've been a good day in the Rockies. Robert's \"Something in This City Changes People\" is next, a slower-paced tune that highlights theirsuperb harmonizing abilities. The subtle congas, Cetera's expressive bass runs and Walter'sdelicate flute reaffirm that their persistent leanings toward the jazz realm haven't abated. Theburg in question is L.A. and Lamm's critical words about its tendency to make those who live there\"devil-eyed\" pull no punches. \"Hollywood\" follows, a fine example of their inimitable style thatcleverly combines and blends jazz influences into an acceptable rock motif. The inventive,invigorating horn arrangement is a joy to hear and the lyric of \"Crazy neighborhood/never understoodwhy I stay\" only reiterates their love/hate relationship with the southern California scene.Peter was a gifted singer but his songwriting skills sometimes left a lot to be desired as \"In Termsof Two\" clearly confirms. They and many other bands liked to venture into the iffy world of countryrock in those days and this is one of those ill-advised experiments that straddles a spiked fence,failing to please anyone. Poco they were not and should've known better. Da funk monster returnson \"Rediscovery\" to stop the bleeding and to instantly restore respectability. Kath's wah-wah happyguitar ride is playfully sneaky but Robert's Rhodes piano playing is disappointingly tepid when itshould've been exciting. Pankow and Cetera's \"Feelin' Stronger Every Day\" is the closer, awell-constructed song that emphasizes everything the group intended to be known for. An upliftingtheme, unforgettable melody line, unorthodox changes in attack and mood as well as their signatureboisterous, dynamic horns are all to be found in this tune. No wonder it was a top ten single andis a staple of classic rock radio to this day. Chicago could accept being either loved or hated butnot being ignored.While I don't consider this to be as sub-par as some seem to think, I do consider it as being onlyslightly above their average due mainly to the inconsistency in the material. I still rank it a lothigher than much of the questionable schlock they would put out later on and find that, as a whole,Chicago VI continues to make for an enjoyable listen. It occupied the #1 position on the albumcharts for five weeks so obviously it wasn't a flop and only served to further solidify their statusas one of the dominant acts of the wild and wooly 70s decade. On this album Robert Lamm's songs inparticular helped to offset their growing tendency to become a hit record machine, keeping themvalid as a serious, active contributor to the ever-expanding genre of jazz/rock fusion for a whilelonger. social review comments Review PermalinkPosted Monday, January 2, 2012 Review this album Report (Review #602012) 59ce067264

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