JAZZ ROCK/FUSION

The contributors pretty much vary from track to track, keyboardist Rachel Z clearly being the most consistent one. Al himself uses a great variety of instruments on this electric and accessible album entirely composed by him. 'Beyond the Mirage' is a very nice opener. There's a shadow of digitally programmed over-production in sight, but due to rich and energetic playing full of fine, fast melodies the outcome stays positive. The next, mellower piece has some world music flavour and reminds me of Pat Metheny, my fave jazz musician.

Overall there is plenty of sonic and atmospheric variety, and while some tracks out of twelve may not be so interesting, and some are perhaps slightly too long, the 67 minutes mostly go very pleasantly. Unlike another reviewer, I generally enjoy the peaceful compositions such as the romantic title track and the brief, acoustic 'Azzura'.

On the aptly titled 'Race With Devil on Turkish Highway' DiMeola gets into an el.guitar battle with Steve Vai. Things like that keep the more energy-favouring listeners awake. The cool trumpet samples on 'Valentina' are by DiMeola. Tha album closes with a vocal version of the title track, sung by Pino Daniele. My biggest complaint concerns the sound of programmed percussion which is too much present. Drummers Peter Erskine and Ernie Adams appear only on two tracks each. But despite that I warmly recommend this album to listeners of guitar oriented fusion and artists such ad Pat Metheny.

It's true that there is a strong post-bop feel but drums sound rockish and synths also get in a contemporary feeling. Also, music changes frequently. The only truly fusion composition is the last piece "Tale of Daring" that has soft and wild moments, all going crazy with their instruments.

The record is of average quality, there are some colorless moments with no feeling but also more introspective pieces. Playing is very good, maybe I'd wish to hear a bit more guitar. Compositions are definitely below RTF average, more about mood than concrete motives.

For me, the highlights are "King Cockroach" with good RTF-like playing and dynamics, then "Silver Temple" has some killer bass and drums but is also slightly incoherent.

Apart from 1-2 songs, it's quite a mediocre album, relying on the 80's sound with minimal horns, heavy synths and poor maybe uninspired songwriting. For me, it is their weakest album until its release in 1986 and regret buying it. The flawed cover of their own cover says it all. Don't waste your time here.

Not really anything for the old fans apart from the vocals but pop/rock lovers with love this a lot.

Compositions are generally medium to strong and even though there's less space for jazz than ever, there are still moments when horns take over. The best contrast is on the strong "Hard to say I'm sorry" which has the perfect (for the year 1982) instrumental workout wher etha lads finally shine a bit. Synths are contementary without taking over. Pop highlights include "Love me tomorrow" and "Rescue me".

However, for most orthodox fans, this is a turning point where things were getting way too streamlined.

"Hold on" is one of their best hard-rocking numbers, I like the edgy voice by Cetera, especially around the mid section.

The record fares well even in the course of time.

"Mama take" is one of the more late 70's Chicago songs without being too dated now. Hard rock is represented by "Must have been crazy" and even "Window dreamin'" with pretty convincing guitar. "Paradise Alley" is a filler, no single thing to praise here. "Aloha mama" seems like a nostalgia track and successfully escapes disco. "Loser with a broken heart" is the ballad of this album, soaring melody and organ in the background.

Not enough for a band of such calibre.

Cetera has now become the most prolific singer contributing to radio friendliness.

The good hits are "No tell lover" or "The greatest love" that have the contemporary beat but still pretty good horns. "Little Miss Lovin'" is a surprising choice given the new guitar player - it rocks harder than usual.

The highlights for more ambitious listeners is the technical "Hot streets" where all players exceed their usual standard on the record. Also the drummer sets a great non-regular rhythm and fill-ins. But also "Take a chance" is pretty good - tasty guitar and percussions/drums pleasing.

Chicago still have something to offer at this point.