Chicago Chicago Vii (1974) [teichiku Records, Tecw 1909]

A sketchy and underfocused debut, Rocka Rolla nonetheless begins to delineate the musical territory Judas Priest would explore over the remainder of the decade: frighteningly dark in its effect, tight in its grooves, and capable of expanding to epic song lengths. On the other hand, Rocka Rolla is also murkier, less precise and powerful in its riff attack, and more blues-based; the stylistic debts to Black Sabbath and Deep Purple are obvious at this juncture, although they would become much less apparent on subsequent releases.

Wonderworld continues in the vein of Sweet Freedom, trying to bring Uriah Heep's appeal to a wider level while still retaining the grandiose trademark elements (the organ-guitar attack, David Byron's operatic shriek) that got them noticed. The result is an album that is solid but not as inspired as Look at Yourself or Demons and Wizards. The hard rock quotient is a little stronger on this album than it was on Sweet Freedom: "Something or Nothing" is a galloping stomp-rocker in the vein of past classics like "Love Machine" and "Suicidal Man" is an organ-fortified speed-rocker that is one of the band's finest hard rock tunes.

A belated sequel to Rhino's 2012 box set The Studio Albums 1969-1978, 2015's The Studio Albums: 1979-2008 rounds up the expanded remasters of Chicago's next ten studio albums, beginning with 1979's Chicago 13 and ending with 2008's Chicago XXXII: Stone of Sisyphus (which was actually recorded in 1994 but shelved for 14 years)…