Best studio Chicago album in ages. Shame it took so long!
Back in the early 90's I was a big Chicago fan. They had kind of moved past the ballady stuff they had in the mid 80's, and became an interesting band again. However, they were still mostly dominated by the ballad. So after Chicago 21 in 1991, the band issued a statement saying they wanted to move away from that kind of music, they wanted to do something new, something they really "wanted to do". So they started work on what became this album. However, the record label didn't like it. The entire story is fairly convoluted, but the band and the record label didn't see eye to eye, so the band said "the heck with it", and took their record and didn't deliver it, or the label refused to release it (depending on who you talk to) Either way, it never came out. As the years passed, and more albums came out, Sisyphus became something of a legend. The band refused to talk about it, the tracks were never released, and it was widely bootlegged.

I had a copy of this for a long time, and really did enjoy it. It was rather experimental, didn't sound like "usual Chicago". In early Spring of 2008, I was rather shocked to see it on the coming list from Rhino records. This was cool, because the boot I had was "OK", but it's never the same as a cleaned up version, properly released. On top of that, the official release has four demo versions of tracks. I didn't listen closely to see if they were bootleg versions or not. Additionally, there's one track that remains from the bootleg that is not on the final version, so it's not 100% completed, but that's a nitpick, really.

The album is great. It still sounds like "Chicago", but not like any traditional Chicago sound. There's a lot more funk and bass in this recording. Several tracks are quite awesome. Thing is, it's probably not for everyone. While I really like the recording, it has that feel of "acquired taste". If you're a Chicago fan though, you probably would like it. Take a shot.

A LONG Wait, but...
From the buzz surrounding this album for years, I thought this would be an incredible return to form for Chicago, full of memorable songs and hooks, comparable to their early stuff. I have to say, though, that this is a pretty underwhelming effort. It all sounds a bit generic and (obviously) dated. The horns are back, but there's nothing truly memorable about the horn lines. I don't know why the record company didn't want to release this in '93; it's not really what I would consider groundbreaking and I don't know why so many people hailed this as a "great" lost Chicago album. The best songs (five of them) on the XXX album are catchier and better overall tracks than the stuff on "Sisyphus". I'm a life-long, die-hard fan of Chicago, but sorry guys; this one just doesn't do it for me!

Makes you wonder.............
The best thing Chicago has done since Chicago V (imo). This one has it all, driving rockers, ballads, those quirky, delicious trademark Chicago horn riffs, even rap! Lamm, Champlin and Scheff all at their best on lead vocals. Amazing. I can't believe the recording execs that were in charge back in 93 thought this wasn't "commercially viable" or whatever drivel they were spouting back then that kept this masterpiece from being released. Makes you wonder how it would have done if released when some of the tracks would have gotten decent airplay.

Yes- White Men Can Jump!!
This album has got soul. The songs are good, the musicianship of the performers are excellent, and the vocals are also quite good. On this album you will hear the horns wailing, the drums pounding, the guitar soaring, and the band rocking with attitude as well as rapping (yes-rapping- check out "Sleeping In the Middle of the Bed"). I have no idea why Warner Brothers (their Label at that time) didn't want to release this album. There are also some nice melodic songs that could be in the top 40 as well.
Missing from the original version of the album is "Get On This", a nice funky dance number. Also, in the cd booklet it is mentioned that "Cry of the Lost" was rewritten from another song they originally intended to use ("Proud of Our Blindness").
If you liked the very first Chicago album (Chicago I) then I think you'll like this album as well. I hope Chicago will decide to create more music like this (rather than their usual Top 40 ballad material). Good album-throughly enjoyable (to me).

Chicago's back!
Stone of Sisyphus is the long awaited release of this very talented band, which has been lost in obscurity for something like 20 years. But don't despair, the CD largely lives up to the hype. It is creative, employs complicated and inspired arrangements, intriuging lyrics and a variety of rock and jazz instrumentation that only Chicago can pull off. It is great to see the Chicago -- that so many of us grew up with -- back again. The stand-out songs in terms of creativity and a sense of the old Chicago energy include: the title track, All the Years (which has an interesting segue that harks back to the Chicago Transit Authority years), Mah-Jong (a very listenable song with a strong sense of funk), Sleeping in the Middle of the Bed (a suprisingly interesting foray into rap), The Pull (which is musically tight but would have been better with Robert Lamn on lead vocals), Plaid and The Show Must Go On. If there is ever a re-release, making sure "Get on This" is on there is a must -- a rocker that was on the original studio version. Nonetheless, this is solid Chicago and the guys (all eight of them) are to be congratulated. Well done. Now let's hear another similar effort for Chicago XXXIII. ---L.A