THE VOICE OF CHICAGO'S GAY, LESBIAN, BI, TRANS AND QUEER COMMUNITY SINCE 1985

More than 30 years ago, Chicago, a rock band with a horn section ( ! ) , made its debut on the pop charts, and racked up several hit singles and top-selling albums over the course of more than 25 years. Only The Beginning: The Very Best of Chicago ( Rhino ) is a succinct double-disc compilation which traces the band's history of hits, beginning with their Columbia Records years ( from 1970 through 1978 ) and finishes with the time they spent on Full Moon/Warner Bros/Reprise/Giant ( 1982 through 1995 ) . The band's early rock/fusion sound ( "Make Me Smile," "25 or 6 to 4," "Does Anybody Really Know What Time It Is?," "Beginnings," and "Questions 67 and 68" ) eventually made way for a more AM-radio friendly pop sound, as you can hear on songs such as "Saturday In The Park," "Just You 'N' Me," " ( I've Been ) Searchin' For So Long," and "If You Leave Me Now." Listening to these vintage '70s songs, which I used to find embarrassing, now gives me a warm and nostalgic feeling that Chicago's later '80s work ( slick, yet dull, tunes such as "Love Me Tomorrow," "Hard To Say I'm Sorry," "Will You Still Love Me?," and the uninspired "You're The Inspiration," which bear the mark of David Foster ) lacks in a big way.

Being from Chicago, it used to cause me shame that the best we had to offer in the '70s and '80s was the band Chicago and, of course, Styx. I used to make fun of Styx relentlessly. Now that Styx bass player Chuck Panozzo has come out as a gay man and Styx has become a source of camp ( remember the Volkswagen commercial from a few years ago? ) , I have come to appreciate Midwestern schlock-rockers. The Best of Styx: The Millennium Collection ( A&M ) has under a dozen of Styx's hokey prog-rock hits, from 1975's "Lorelei" to "Come Sail Away" ( 1977 ) , "Babe" ( 1979 ) , "The Best Of Times" ( 1980 ) and "Mr. Roboto" ( 1983 ) .

Without going into too much detail about the hard-won victory that is the release of Yankee Hotel Foxtrot ( Nonesuch ) , suffice to say that Wilco's former label Reprise, hasn't been sufficiently shamed yet. The dazzling black-and-white documentary I Am Trying To Break Your Heart ( also the title of the opening track on Yankee Hotel Foxtrot ) , directed by Sam Jones, about the making of this disc, gives the viewer some insight into the record label ordeal, as well as into the personalities and processes of the band. Wilco has somehow maintained its own identity throughout, emerging as a new kind of Chicago band. Yankee Foxtrot Hotel seamlessly blends the insurgent country vibe of the band's first two discs with the lush pop of its acclaimed 1999 Summerteeth disc. Combining daring sonic experimentation ( the aforementioned "I Am Trying To Break Your Heart," "Radio Cure," "Ashes of American Flags," "Poor Places," "Reservations" ) with infectious pop tunes ( "Kamera," "War On War," "Jesus, etc.," and the brilliant "Heavy Metal Drummer" ) , Wilco has created one of the most important albums of the year.

Presently, there is a new generation of mainstream bands from the Chicago music scene that must live down the legacy of Chicago and Styx ( as well as Cheap Trick and Smashing Pumpkins ) . Among the most promising new bands you will find OK Go, whose self-titled debut disc ( Capitol ) is a dozen tracks of smart and catchy pop music. OK Go already earned its cool credibility when it provided the live musical interludes for a series of This American Life ( public radio program ) live performances. Even though OK Go doesn't have the propulsive synthesized beats of many of the new-wave revivalists, they still have a sound that both refers to and transcends the more than twenty years since the birth of new wave. Highlights include the Billy Squier-esque "Get Over It," the kicking beat of "Don't Ask Me," the Cars-keyboard homage of "You're So Damn Hot," the warm shuffle of "Shortly Before The End," the retro snap of "C-c-c-cinnamon Lips," and the dark, but hook-laden, "Hello, My Treacherous Friends."

As someone who writes about music, and also lives in Chicago, I do what I can to stay aware of new and established artists in both the queer and mainstream music scenes. Part of my awareness comes from compiling a weekly music calendar listing. Which is why I was so surprised to learn about two bands, Chevelle and Matthew, that claimed to be "Chicago" bands. Until I received a review copy of Point #1, Chevelle's 1999 debut disc, I'd never heard of them. I realized that I'd never heard of them because suburban Christian rock wasn't on my radar. The original June 2002 release date was postponed, but Chevelle's follow-up disc Wonder What's Next ( Epic ) , featuring holy headbangers such as "Grab Thy Hand" and "An Evening With El Diablo," should be on store shelves by now.

Everybody Down ( Rykodisc ) is Matthew's debut disc. Having never heard of them before, I was interested find out what all the hype was all about. An improvement on the nodule-causing ravings of Chevelle, but not as original, thought-provoking nor entertaining as Wilco or OK Go, Matthew sounds like a bar band, whose songs are mostly indistinguishable from each other ( the pseudo-religious "In The Wonder" is the exception ) , that got lucky with a record deal. Maybe Matthew's second disc will be better. On its second album Face Your Fear ( Blue Room Studio ) , Forty Piece Choir ( which is actually a five-member Chicago-based band ) performs an amalgamation of musical styles including alt-country, jam-band improv, emo, contemporary psychedelia, and experimental modern rock, among others. Standout tracks include "Reincarnated," "Ray X," "Mustard," "Vertigo," and the mini-near-epic "Bouquet." Dekkagar ( Thrill Jockey ) by The National Trust covers some of the territory that Forty Piece Choir missed, including influences such as '70s soul, funk and fusion.

L'Altra's name may not be as familiar as some of Chicago's other post-rock bands such as Tortoise or The Sea & Cake ( both of whom L'Altra has performed shows with ) , but their graceful second full-length album In The Afternoon ( Aesthetics ) could change all that. The ethereal voices of lead vocalists Lindsay Anderson and Joseph Costa are supported and enhanced by piano, cello, trumpet, pedal steel guitar and accordion, allowing songs such as "Soft Connection," "Black Arrow," "Ways Out," and "Broken Mouths," to gently enter the atmosphere of your consciousness. If your post-rock tastes run towards the mesmerizing instrumental, Town And Country's C'Mon ( Thrill Jockey ) , will satisfy that craving.

Chicago transplants Filter continue in their metallic/electronic amalgamation on their new album The Amalgamut ( Reprise ) . After the unexpected success of the dance remix of "Take A Picture," from its previous disc, Filter wisely includes a remix ( by the X-excutioners ) of the first single "Where Do We Go From Here."

The city of Chicago figures prominently in the four-disc set When The Sun Goes Down: The Secret History of Rock & Roll series ( Bluebird/RCA Victor/BMG ) . Volume 3 is titled That's Chicago's South Side, and it shows the blues influence of the Mississippi migration north to Chicago and other parts through songs such as the title track, performed by Sam Theard ( a.k.a. Lovin' Sam ) , "Sail On, Little Girl, Sail On" by Amos Easton, "Honky Tonk Train Blues" by Meade Lux Lewis, and "Bottle It Up and Go" by Tommy McClennan, to name a few.

Some solo female vocalists have also been making a splash in Chicago. The winner of the 2002 Big Break competition, Katie Todd was awarded a slot at Milwaukee's prestigious Summerfest concert series in June. Her debut disc Changing Faces ( Room 32 ) is every bit as deserving of the attention being received by Avril Lavigne and Vanessa Carlton, both of whom are young female singer/songwriters with major label albums. Todd, who has a Natalie Merchant quality to her voice and phrasing, dwells on themes of social behavior ( "Tiger," "The Polite," "Unreachable," and the undeniably catchy "Spinning" ) and leaving ( "Vacate," "Get Up," "Afraid Of Love" ) , but she gives each song its own identity, and emerges as one of the freshest faces in the female singer/ songwriter genre.

A familiar name and face in Chicago's flourishing folk music scene, Alice Peacock ( Aware/Columbia ) , the eponymous major-label debut disc by Peacock finds the singer/songwriter moving into the more produced territory of Sheryl Crow and Shawn Colvin. Peacock doesn't completely abandon her folk roots, feathering the disc with guest vocalists Indigo Girl Emily Saliers and Kristen Hall, of Atlanta's burgeoning folk-pop scene.

Standout tracks on this radio-friendly disc include "Leading With My Heart," "Bliss," "I Hear You Say," "Parallel Life," "Boy In The Backseat," and the lovely piano ballad "Some Things Get Lost."

Also recommended is Slowly But Surely ( Papaya ) , the primarily acoustic solo debut disc by female singer/songwriter Toy and U2-influenced West-suburban Chicago rockers Penny Dreadful and their five-song EP Sanctuary ( www. pennydreadful. Com ) , with the Pearl Jam-esque track "Islets."

By Gregg Shapiro

While people in the music industry are writing funeral dirges for the compact disc, I'd like to sing its praises. From its domestic introduction, 20 or so years ago, the CD has provided a home for nostalgia seekers. Out of print albums, golden oldies, chart-topper and dusties have been given a second chance to be heard ( minus cracks, pops and hiss ) on hits collections and reissues. The trend continues today.

Tribute discs are a way to celebrate the past and acknowledge the influence of others. Ramones Forever: An International Tribute ( Radical Records ) is an especially poignant salute considering that Dee Dee Ramone died June 5 ( a little more than a year after Joey Ramone's untimely death ) , shortly after the Ramones were inducted into the Rock and Roll Hall of Fame and the release of this CD. Contributors from performers based in Belgium, Hungary, the Netherlands, Peru, Germany, France, Greece and the United States paid their respects to the legendary punk band from New York over the course of nearly two dozen tracks. The most exciting contributions were the ones that veered away from being merely imitations of the Ramones. "I Wanna Be Sedated" by Neven, "Psycho Therapy" by No Bluff Sound, both La Fille d'Ernest's French version and Davo Vermeersch rendition of "I Wanna Be Your Boyfriend," and "53rd and 3rd" by Ramon Da Silva are just a few of the daring reinterpretations worth mentioning.

"Outsider," another Ramones song can be found on Shenanigans ( Reprise ) , a 14-track compilation by Green Day. Among the old B-sides and previously unreleased tracks ( "Ha Ha You're Dead" ) , Green Day also covers the Kinks ( "Tired Of Waiting For You" ) .

Live discs, like tribute discs, also offer a glimpse into the past ( and occasionally a peek into the future ) . The double disc set Getting Away With It … Live ( Sanctuary ) captures the celebrated British band James in concert. Among the 21 tracks, you will find live renditions of "Laid," "Johnny Yen," and "Born Of Frustration."

Like the above-mentioned live James disc, under-appreciated jazz vocalist Rachelle Ferrell uses the concert device to explore her past. Live In Montreux 91-97 ( Blue Note ) serves up Ferrell's distinctive concert interpretations of standards such as "You Send Me," "My Funny Valentine," and "Bye Bye Blackbird."

The California-identified band The Beach Boys have probably had as many different hits discs released as Frank Sinatra. The latest, Classics: Selected by Brian Wilson ( Capitol ) , is intended to stand apart from the others due to the fact that chief Beach Boy Wilson himself had a say in what songs appear on the disc. These classics ( which include "The Warmth Of The Sun," "Don't Worry Baby," "In My Room," "California Girls," "God Only Knows," "Good Vibrations," and "Sail On, Sailor" ) remain the perfect soundtrack to summer.

The Charlatans UK's Songs From The Other Side ( Beggars Banquet ) is a collection of 16 B-sides ( such as the Chemical Brothers' remix of "Nine Acre Dust," "Your Skies Are Mine," and "Two Of Us" ) from 11 singles ( including "The Only One I Know," "Jesus Hairdo" and "One To Another" ) released from 1990 through 1997.

Although none of The Cranberries' three other discs from the 1990s had the impact of their domestic debut Everybody Else Is Doing It So Why Can't We?, which contained the hits "Dreams," "Sunday," and "Linger," there are still elements worth listening to, key among the Dolores O'Riordan's distinctive vocals. Treasure Box ( Island ) is a box set consisting of all four of The Cranberries' '90s albums, with each disc enhanced by "extra tracks from that period."

Before she fronted her own band, Belly, Tanya Donelly had already established herself as one of the coolest female rockers to emerge from the fertile New England music scene through her involvement in the bands Throwing Muses and The Breeders. By the time Star, Belly's 1993 debut disc, was released, Donelly was a diva in her own right. Which makes the fact that Belly's second album, the equally infectious and inventive King ( 1995 ) , didn't do nearly as well as Star, seem surprising. Just listen to "Super-Connected" and "Seal My Fate," two of the songs from King on Sweet Ride: The Best of Belly ( Rhino/Sire ) , and try to explain why it wasn't a hit on par with "Feed The Tree" or "Slow Dog" ( both from Star ) . To its credit, Sweet Ride also improves on the "best of" disc concept by including more than a half dozen b-sides among the live recordings and previously unreleased tracks.

It's almost impossible to mention Tanya Donelly without also mentioning Juliana Hatfield, another Boston-area artist who has also been an important component in that city's music scene. Gold Stars 1992-2002: The Juliana Hatfield Collection ( Zoe ) compiles 20 classic tracks from Hatfield's days on Mammoth, Atlantic, Bar/None, Zoe/Rounder, as well as several old and new unreleased cuts. A lovely reminder of Hatfield's abundant gifts.

18 Again: An Anthology ( Koch ) is an outstanding collection of 18 songs by the underrated Amy Rigby. A member of both the Last Roundup and The Shams, Rigby incorporates folk, rock and country influences into her solo work. Comprised of 17 songs from her three solo albums Diary Of A Mod Housewife, Middlescence and The Sugar Tree, plus a previously unreleased track ( the brilliant revenge tune "Keep It To Yourself" ) , 18 Again is essential listening for fans of great song writing, on par with Aimee Mann. Rigby, who went through a messy divorce with musician Will Rigby ( The dBs ) , has created some of the fiercest anti-love songs ( "All I Want," "Balls," "Cynically Yours," and the cheating classic "20 Questions" ) you have ever heard. Rigby also has a peerless way of blending humor and sensitivity, which she does on "Knapsack," "Invisible," "The Summer of My Wasted Youth." Now is your chance to make the acquaintance of the mod housewife.

In her day, Judy Garland sang songs of love and heartbreak. Judy In Love & Alone ( Capitol/S&P ) combines both sides of the coin by putting 1959's Judy In Love ( with Nelson Riddle & His Orchestra ) and 1963's Alone ( with Gordon Jenkins & His Orchestra ) on one disc. The bonus track "Then You've Never Been Blue," from the Alone sessions, adds the right touch of sadness.

When I was a wee lad, my parents had Yeah!!!, the live Aretha Franklin album ( recorded "in person with her quartet" ) in their record collection. I loved that album, which contained the future queen of soul's renditions of blues and pop standards such as "Muddy Water," "Trouble In Mind," and "Misty." The Queen In Waiting: The Columbia Years 1960-1965 ( Columbia / Legacy ) is a wonderful 40-track, two-disc anthology of Aretha's pre-Atlantic and Arista years, including more than a half dozen previously unreleased songs. With the new soul revival in full swing, this is the perfect time to revisit early Aretha, and listen to the way that she transformed songs such as "Walk On By," "God Bless The Child," "Skylark," "People," and "Take A Look."

The expanded reissue of What A Difference A Day Makes ( CTI/Epic/Legacy ) by jazz and blues vocalist Esther Phillips contains her smash hit remake of the title track, a song that would go on to become one of the biggest disco hits of the mid-1970s.

On the subject of soul music from the '70s, Billy Preston's contributions can't go unrecognized. Well-known for his work with the Beatles ( "Get Back" ) , Preston also had a successful solo career. Beginning with his funky 1972 keyboard-driven instrumental "Outta Space," Preston also topped the charts with "Will It Go Round In Circles," "Space Race," "Nothing From Nothing," and his duet with Syreeta on "With You I'm Born Again," all of which can be found on The Best of Billy Preston: The Millennium Collection ( A&M ) . Speaking of the vintage fusion vibe, it's been a while since Earth, Wind & Fire, the elemental funk and soul group of the 1970s and early 1980s, released an album of new material, but the vaults are full of recyclable material and the double-disc Essential Earth, Wind & Fire ( Columbia/Legacy ) makes the most of what is available.

We Are All One: The Best of Jimmy Cliff ( Columbia/Legacy ) covers a more than 20-year period. This 15-track compilation opens with "You Can Get It If You Really Want" ( from the movie The Harder They Come ) and includes several songs from Jimmy Cliff's '80s work, as well as his cover of "I Can See Clearly Now" ( from the movie Cool Runnings ) . In case you haven't gotten your complete Jamaican fix, six remastered and expanded CD version of albums by the late reggae legend Peter Tosh, who with Bob Marley was a co-founding member of The Wailers, have just been released on EMI-Capitol.

Also riding on the reissue rails is '70s metal funk trio Grand Funk Railroad. The three studio discs...Closer To Home, On Time and Grand Funk ( all on Capitol ) ...each contains at least three bonus tracks. The live album, fittingly titled Live Album, has also been reissued.

Modern-day metal-heads are also advised to take a listen to two new hits collections. The Ultimate Kansas ( Epic/Legacy ) and Bad For Good: The Very Best of The Scorpions ( Hip-O/Mercury ) . The double-disc Kansas collection begins in the mid-'70s and ends in the early '80s. It took the jamming sextet a few years ( and albums ) to catch on with the record-buying public, but when they did ( with the singles "Carry On Wayward Son" from 1976's Leftoverture and "Dust In The Wind" from 1977's Point of No Return ) , they were inescapable. The Scorpions were sort of like a German version of Judas Priest ( minus the gay lead singer ) . I think it's important for 21st century metal-heads to hear these discs so they'll know just how dated the nu-metal bands that they are listening to will sound in 20 or so years.