For starters, only 34 of the band's 35 Top 40 hits are here. Missing is 1975's "Harry Truman," which went to No. 13. Also, unlike 1991's box set, several of these songs are edits. Granted, if you remember these songs from AM radio, you won't notice the difference. These are, after all, the single versions of these songs. So on songs like "Does Anybody Really Know What Time It Is?" the piano introduction has been deleted. "Beginnings" has the percussion at the end edited out. "I'm a Man" does not include the drum and percussion interlude.

Other than that, this is a well chosen and thorough collection. Where the box set only covered the band's history through 1980, Rhino brings the band's history up to date with the inclusion of their thirteen hits from the Eighties and Nineties. The set conlcudes with the Louis Prima standard "Sing, Sing, Sing" which Chicago performed with the Gipsy Kings on their 1995 album Night & Day: Big Band. In addition, the 16-page booklet is informative, if not somewhat brief when you consider the band's 30-plus year history. [Note: When Columbia released the Portraits box set, it included an extensive booklet; the current Chicago Records version now in print contains no booklet at all.]

At any rate, this anthology will make redundant the three current greatest hits collections. If you're a fan of the hybrid music Chicago helped create by adding a full-time horn section to a rock band and you're still listening to your worn out vinyl records, this collection is a no-brainer. HIGHLY RECOMMENDED

102 of 110 found the following review helpful:


A Tale of Two CD's  Dec 27, 2002 By G. J Wiener
What a difference between two CD's. Well I guess that is what you get with a band that has evolved as much as Chicago.

The first CD is nearly flawless. All of it was recorded when Terry Kath was alive and the band recorded rock, blues, and a few ballads augmented by stunning horn arrangements. Terry Kath's guitar solos are oh so creative. Just listen to the wah wah infected solos on I'm A Man and Lowdown and the lightning fast soloing on 25 or 6 to 4 and Make Me Smile. The tone is oh so cool by Mr. Kath on Feelin' Stronger Everyday as well as the Peter Cetera sung Questions 67 and 68.

Robert Lamm's contributions on Saturday In The Park and Does Anyone Really Know What Time It Is are strong. Catchy tunes with good singing. Peter Cetera adds some nice songs as well. In moderation, Peter is just fine, tenor voice and all. Overall, this first CD is an easy five stars in spite of a few questionable edits.

The second CD is a horse of a diferent color. It starts off nicely with Old Days. Then we have Baby What A Big Surprise. Not Chicago's worst song, but certainly a sign of an unfortunate power struggle shift to Peter Cetera's sappy ballads. I actually like Take Me Back To Chicago as Robert Lamm's vocals are on the money and guest star Chaka Kahn contributes nicely as well. Afterwards its kind of hit and miss with the sappy Peter Cetera ballads. Some are more tolerable than others.

When Peter left, Chicago deteriorated even further with synthesizers dominating the scene and terribly uninspired vocals as well as horrible drumming(Why in the world did they can Danny Seraphine?). Also, whatever happened to the horn arrangements? Where is keyboardist Robert Lamm for that matter? They were the backbone of this fine band. Is this even Chicago or an imposter band? Someone notify the music police!!!!!! Its really a chore to endure six straight sappy ballads performed without any sign of the true blue Chicago.

Fortunately, this disc closes strongly with the reworking of Sing Sing Sing. The horns are back as well as some good guitar and a strong percussion beat. However this second disc rates two-two and a half stars and brings down the overall package to a three and a half.

This may be a good place to start to get a comprehensive overview of Chicago. However, fans that like a natural mix of rock and jazz might want to try their first eleven releases and pick and choose from there. As for those people who like the balladeering synthesizer drivel, I just can not help you.

28 of 30 found the following review helpful:


39 or 34 to 2  Jul 09, 2002 By Jason Stein
Once again, I must give my explanation of compilation packages. They are not designed for fans who have all the cds from the artist. A good package will include all the artist's top 40 hits plus key album cuts. "The Very Best Of: Only The Beginning" gets a high mark for including all of Chicago's top 40 hits with the exception of "Harry Truman". The five non-hits, though not what Chicago enthusiasts would select, are fine additions to this compilation. All tracks are digitally remastered, which is a plus on the 1969-1980 material, and a nice enhancement of the 1982-1991 material. I particularly liked Chicago's version of The Spencer Davis Group's "I'm A Man". For anyone who grew up in the 1970's, or like myself, the 1980's, this compilation is filled with memories. Unfortunately, as is documented here, Chicago became a slickly produced ballad factory beginning with "Chicago 16", but not glaringly apparent until "Chicago 18". At any rate, the power ballad never sounded so good. I think only Toto could rival Chicago for power ballad excellence (they need a two disc compilation!) This is a great way to introduce kids to a great band, or a great way to condense a collection on to cd, digitally remastered. Listening to this compilation just reminds me of the pitiful state of top 40 radio today. I can only think of the band Cake, offhand, that uses brass in their music currently. Rhino Records does a nice packaging job. I liked how they displayed all the album covers under the cd tray, and how they give track information in the cd jacket. The liner notes were nothing special, just brief career overview. All in all, the best two disc Chicago compilation under one roof thus far.

21 of 23 found the following review helpful:


I wish the chosen tracks were from Only The Beginning...  Nov 28, 2002 By J. Lund "jazzbrat"
I won't try to reconcile my opinion of Chicago's career with the reviews by fans who are impressed by the entirety of what is presented here. Let's just say that if you are familiar with Chicago's 1980s-vintage music and like what you heard, this collection is probably the best one-stop source to get almost all of the hits covering the group's career from 1969 to 1995. However, if you are unfamiliar with the career path that this group took over the roughly three-decades this anthology covers, I seriously suggest you try to sample as many of the tunes as possible before making a purchase. The earliest tracks show Chicago concocting an often-underrated mix of left-of-center musical elements (jazz-influenced horns, Terry Kath's guitar work, extended jams) with a knack for writing memorable tunes adaptable to the hit single format. While I wish some of the earliest cuts had been recorded and/or mixed a bit better, the music itself provides a pleasing balance of enduring songs, unique arrangements, good vocals, and impressive solos by Kath in particular.

By the mid-1970s the group's approach began undergoing a transformation. To be fair, I think the cuts presented here covering this particular era (IF YOU LEAVE ME NOW, WISHING YOU WERE HERE, etc.) hold up much better than I expected: above-average pop tunes fortified by deceptively-simple arrangements. Where I jump off the C.T.A. is further into this period, specifically the mid-late 1980s as represented by much of disc two. To me, just about every track has a plastic, synthesized sheen that sounds like the generic MIDI demos you could hear walking into any music equipment store during that era. Everything that was identifiable about the Chicago group sound was obliterated by the faceless programming trend that infected a lot of music in all genres across that decade. I'm not anti-synth or anti-MIDI by any means (in fact, I've used both extensively myself). However, these tracks to me represent everything about 1980s pop music that I avoid like the plague. At least on the last track (1995's update of the swing-era classic SING, SING, SING) the group does recover some of its identity...I hear some real horns again, for one. I'd recommend that unless you want those 1980s tracks, go for either the early original albums (C.T.A., II, III, etc.) or to collections targeted towards that period.

21 of 23 found the following review helpful:


Career-Spanning Chicago Set Sure To Make You Smile  Jul 07, 2002 By Anthony G Pizza "trivialtony"
Chicago's 35-year history is essentially that of two bands. The seven piece rock into pop group spent the 1970s touring nearly endlessly, scoring five straight #1 albums featuring Top 10 songs written by nearly all its members: trombonist James Pankow (the wedding ballad "Color My World," "Just You and Me," "I've Been Searching So Long,") trumpeter Lee Loughnane ("Call On Me," ) and keyboard player and acknolwedged group leader Robert Lamm ("Beginnings," "Questions 67 and 68.") Bassist Peter Cetera's high, emotional voice, showcased on lush ballads like "If You Leave Me Now" and the exquisite "Baby What a Big Surprise," became the group's calling card. After 1982's huge, welcome comeback hit "Hard To Say I'm Sorry," the group scored a second set of similar weepy power ballads sung mostly by Bill Champlin ("Look Away," "I Don't Want To Live Without Your Love," "Hard Habit To Break")

"Only The Beginning" covers this uneasy mix with typical, professional Rhino Records quality. Hearing "Now More Than Ever" back on the group's debut hit "Make Me Smile" refreshes that classic, and the group's early hits that follow recall how groundbreaking their sound was its first years. You get songs escaping previous one-disc hit collections ("Free," "Lowdown," "I'm A Man,") while others ("Beginnings," "Dialogue," butchered on the group's second greatest hits set from 1981) trim to managable lengths from the group's sometimes self-indulgent song suites (the band itself help produce and mix this set).

Cetera's acrimonious 1985 departure (replaced by the equally capable Jason Scheff) saw Chicago de-emphasize its horn strength and settle into a thudding synthesized ballad style which refueled many 1970s bands (Heart, the unmasked KISS). Produced by Ron Nevison, written mostly by Diane Warren, "We Can Last Forever" runs into "What Kind of Man Would I Be?" into "Chasing The Wind" until you turn up the sound seeing if Walter Parazaider or any band brassman even showed for the sessions. These songs, welcome when hits against the dance and girl group pop of the time, wear thin one against another. The group's rendition of Benny Goodman's "Sing Sing Sing" from 1995's "Night and Day" CD eases the tension and brings Chicago's story full circle. (That story, documented in Bill DeYoung's liner notes, glosses over the death of guitarist Terry Kath, and the circumstances of Cetera's departure and that of drummer Danny Seraphine in 1990.)

Chicago IX, its first best-of, remains the defintive timepiece of the first group incarnation and one of the 1970s best such sets. All those songs are included here, many expanded. Take what songs touched you from the rest and you're left with a recommended, not quite essential, collection from one of rock's least publicized yet Hall of Fame worthy survivor's stories.

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