- Released: June 17, 2008
- Label: Rhino
- 1.Stone of Sisyphus - (previously unreleased)
- 2.Bigger Than Elvis - (previously unreleased)
- 3.All the Years - (previously unreleased)
- 4.Mah-Jong - (previously unreleased)
- 5.Sleeping In the Middle of the Bed - (previously unreleased)
- 6.Let's Take a Lifetime - (previously unreleased)
- 7.Pull, The - (previously unreleased)
- 8.Here With Me (A Candle For the Dark) - (previously unreleased)
- 9.Plaid - (previously unreleased)
- 10.Cry For the Lost - (previously unreleased)
- 11.Show Must Go On, The - (previously unreleased)
- 12.Love is Forever - (previously unreleased)
- 13.Mah-Jong - (previously unreleased)
- 14.Let's Take a Lifetime - (previously unreleased)
- 15.Stone of Sisyphus - (remix, previously unreleased, alternate take)
Personnel: James Pankow (vocals, trombone); Robert Lamm, Bill Champlin (vocals, keyboards, background vocals); Sheldon Reynolds, Bruce Gaitsch (guitar); Tris Imboden (harmonica, drums, percussion); Walter Parazaider (woodwinds, background vocals); Lee Loughnane (trumpet, flugelhorn, background vocals); Peter Wolf (keyboards, keyboard bass); Joseph "Gospel Joe" Williams, Jason Scheff, The Jordanaires (background vocals).
Audio Mixer: Tom Lord-Alge.
Audio Remasterer: David Donnelly.
Audio Remixers: Peter Wolf ; Paul Ericksen.
Liner Note Author: Bill DeYoung.
Recording information: Embassy Sutdios, Simi Valley, CA (1993); Nashville, TN (1993).
Photographers: Jimmy Katz; Paul Ericksen.
Arranger: Peter Wolf .
Among followers of Chicago's latter-day works, STONE OF SISYPHUS developed its own mythology over the years. It was recorded in 1993, and was originally slated to follow the TWENTY 1 album, but disputes between the band and their label resulted in the project being shelved. Several tracks leaked out here and there over the years on bootlegs, compilations, and box sets, but it wasn't until 15 years later that the album was officially released in its entirety, at which point it was subtitled XXXII. The story that the label deemed the material non-viable seems unfounded, as these tracks are very much in keeping with the band's other albums of the era. Big production, massive pop hooks, and Bill Champlin's soulful vocals define most of the cuts, and despite an ill-advised rap on "Sleeping in the Middle of the Bed," there's little kowtowing to the trends of the time. It's perhaps not the great long-lost treasure fans may have hoped for, but it surely won't be a disappointment to them.