Records are rated on a scale of one (poor) to four (excellent) stars:

3 1/2 stars = Very good
Ratings explained

Since the band isn't coming to Pittsburgh this summer, we local fans will have to make do with its legendary "lost" album, recorded in 1993 but previously available only as a bootleg. "Stone" actually cost Chicago its contract with Warner Bros. because the band refused the honchos' demands for more of the sappy power ballads that made the record company a ton of money but stifled the band's creativity.

I'll say this: Better late than never. And now having listened to a legitimate copy, I don't understand the fuss. It's purposely more adventurous than many of the band's efforts since the 1980s, but certainly not lacking in balladry.

That being said, if you were expecting something like the Chicago Transit Authority of the late 1960s, you'll be disappointed. With three original members, including two of the vocalists, no longer around, the overall sound was bound to shift. The rhythm section of bassist Jason Scheff and drummer Tris Imboden, two of the "replacements," lay down a take-no-prisoners funk groove pretty much throughout, especially on the title track, sung by then-guitarist Dawayne Bailey and co-written with trumpeter Lee Loughnane.

Probably the best of the 11-track album, not including four bonus cuts, is the smoldering "Mah-Jong," with spirited organ at the end. "Sleeping in the Middle of the Bed" represents keyboardist Robert Lamm's take on hip-hop; the liner notes mention that he and producer Peter Wolf transformed it into rap as an afterthought. The chorus of "Plaid," Bill Champlin's diatribe against "corporate rock," slightly recalls Steely Dan but packs more of a wallop.

Arguably the most musical portion is the symphonic break during the ballad "Here With Me (A Candle for the Dark)," featuring Walt Parazaider on lilting flute, followed by a French-horn line courtesy of trombonist Jimmy Pankow. Also included is "Bigger Than Elvis," Scheff's tribute to his father Jerry, the bassist in Elvis Presley's last band and on which Jerry Scheff plays.

One of the bonus tracks is a demo of "Mah-Jong," which might have a chance on smooth jazz radio. Good thing it was rearranged -- it's just too smooth for this collection.

-- Rick Nowlin, Post-Gazette staff writer

4 stars = Outstanding
Ratings explained

I've listened to a lot of the Detroit-born-and-bred acoustic guitarist, now based in Atlanta, over the past three decades, both live and on record, and I must admit I've never heard him sound this good. Perhaps I wasn't listening well enough. Klugh offers a number of settings -- all-acoustic, electric funk and even solo -- for his first band release in nine years, and they all fit his pianistic technique of playing a lead line with backing chords simultaneously. I can only say, "Wow!"

It's hard to say which tunes stand out, but I especially liked the moving "Sleepyhead," which includes a piano solo from David Lee Spradley. "Canadian Sunset," which he performed at the Manchester Craftsmen's Guild three years ago, swings gently; Klugh gets really funky with "Snap!"; and pays tribute to Thelonious Monk with "Bye Ya."

Some of the tunes recall the heavily orchestrated 1970s sides from the legendary Creed Taylor International label, with string section and a chorus of flutes on the opening "Ocean Blue," "C'est Si Bon" and "My Foolish Heart." Klugh even uses a chamber orchestra on "Heart of My Life."

Klugh also includes two solo pieces, "Venezuelan Nights" and the closing "The Toy Guitar."

Klugh will perform at 7:30 p.m. Sunday at Hartwood Acres.

-- Nowlin