Chicago 17 (West German ''Target'' Pressing)
Originally Released May 1984
CD Edition Released
Remastered + Expanded CD Edition Released October 3, 2006
AMG EXPERT REVIEW: Chicago 16 finally gave Chicago a big hit after a four-year drought, thanks in large part to new producer David Foster, who steered the jazz-rock veterans toward a streamlined, crisply produced pop direction on that 1982 effort. Given that success, it's no surprise that the septet teamed with Foster again for its next album, 1984's Chicago 17 (apparently Roman numerals were left behind along with their progressive jazz-rock). It's also no surprise that Foster took an even greater control of 17, steering the group further down the adult contemporary road and pushing Peter Cetera toward the front of the group, while pushing the horns toward the back. Indeed, it's often possible to not notice the horns on 17; they either fade into the background or meld seamlessly with the synthesizers that are the primary instruments here, providing not just the fabric but foundation of nearly all the arrangements, as synth bass and drum machines replaced the rhythm section. This did not sit well with many longtime fans -- and it may have also caused some tension within the group, since Cetera left after this album -- but it did make for the biggest hit album in Chicago's history, going quadruple platinum and peaking at number four on the Billboard charts. A big reason for its success is the pair of hit ballads in "Hard Habit to Break" and "You're the Inspiration," two big and slick dramatic ballads that each peaked at number three on the charts and helped set the sound for adult contemporary pop for the rest of the decade; the likes of Michael Bolton and Richard Marx are unimaginable without these songs existing as a blueprint (in fact, Marx sang backup vocals on "We Can Stop the Hurtin'" on 17).
Ballads were a big part of 17 -- in fact, these hits and album cuts like "Remember the Feeling" are among the first power ballads, ballads that were given arena rock flourishes and dramatic arrangements but never took the focus off the melody, so housewives and preteens alike could sing along with them. Power ballads later became the province of hair metal bands like Bon Jovi and Poison, but Foster's work with Chicago on 17 really helped set the stage for them, since he not only gave the ballads sweeping rock arrangements, but the harder, punchier tunes here play like ballads. Even when the band turns up the intensity here -- "Stay the Night" has a spare, rather ominous beat that suggests they were trying for album-oriented rock; "Along Comes a Woman" has a stiff drum loop and a hiccupping synth bass that suggests dance-pop -- the music is still slick, shiny, and soft, music that can appeal to the widest possible audience. 17 did indeed find the widest possible audience, as it ruled radio into late 1985, by which time there were plenty of imitators of Foster's style. There may have been plenty of imitators -- soon, solo Cetera was one of them, making music that was indistinguishable from this -- but nobody bettered Foster, and Chicago 17 is his pièce de résistance, a record that sounded so good it didn't quite matter that some of the material didn't stick as songs; as a production, it was the pinnacle of his craft and one of the best adult contemporary records of the '80s, perhaps the best of them all. Certainly, it's hard to think of another adult contemporary album quite as influential within its style as this -- not only did it color the records that followed, but it's hard not to think of Chicago 17 as the place where soft rock moved away from the warm, lush sounds that defined the style in the late '70s and early '80s and moved toward the crisp, meticulous, synthesized sound of adult contemporary pop, for better or worse, depending on your point of view. [Rhino reissued Chicago 17 in 2006 with remastered sound and a bonus track: Robert Lamm's previously unreleased "Where We Begin."] -- Stephen Thomas Erlewine
AMAZON.COM CUSTOMER REVIEW
Another Cetera Solo Record, October 8, 2006
Reviewer: D. Francella (Frederick County , MD)
By 1984 Chicago was Cetera's back-Up band. Cetera released two successful solo records "Peter Cetera" , and "Solitude/Solitare". David Foster wanted 17 to sound just like peter's solo records. He got the sound he wanted.
This record sold 7.5 million copies and is the most sucessful Chicago record. Just about all the songs on this record were released as singles.
Thier 1st single "stay the night / only you" would reach number 16 on the charts. Their second single "Hard habit ot break/remember the feeling" would reach number 3 on the charts. Their 3rd single "your the inspiration/love me tomorrow" would reach reach number 3 on the charts. Their last single "along comes a women/ we can't stop the hurtin" would reach number 15 on the charts.
Overall out of the 22 studio album for chicago I rank this one at number 21. This muisc is horible and it's very outdated. You can listen to some of the chicago records and the music sound just as good now as it did 35 years ago. "We can't stop the hurtin" and "Where we Begin" are the two best songs on this record.
As for the Rhino reissue once again they did an excellent job remastering and repackageing the album. The sound quality is great. If your a fan this record and you own the original i reconment buying the remaster.I'm just curious why they left out "good for nothin'" as the second bonus track.
AMAZON.COM CUSTOMER REVIEW
Great but could have been better, October 5, 2006
Reviewer: Jim S. Place (Grand Island, NY United States)
Overall this is a teriffic album. Where it falls short is with the song Please Hold On. The original LP had a different version than did the original CD...this release missed a golden opportunity to combine the 2 versions of what may be Chicago's best 1980's song.
AMAZON.COM CUSTOMER REVIEW
Beefed Up Re-Master of the Monster Hit, October 4, 2006
Reviewer: Bill Fleck (Wurtsboro, NY USA)
The liner notes say it all: it's sold about 7 million copies, the biggest-selling set in Chicago's 40-year history. It's called CHICAGO 17, and a new, beefed-up Rhino remaster with a bonus track shows it's still pretty good stuff after all these years.
One reason for this is the addition of vocalist/keyboardist/guitarist Bill Champlin. A Grammy-Award winning songwriter, Champlin is also in possession of some of the greatest pipes in rock. On "17," he trades vocals effectively with the more familiar sound of Pete Cetera (his last bow with the group), and writes a hell of a tune or two.
The production of David Foster is another reason. Chicago's first producer/mentor was James William Guercio, a man ahead of his time. After his split with the band, the boys seemed directionless; the tunes became "discoed" and stale. Foster--brought on board in 1982 by Champlin (just in time to produce CHICAGO 16)--brings his tune-smithing, slamming drums, and modulation to this set, and the results on most songs are well worth hearing (this remaster also beefs up the volume, a definite improvement over previous Warner Brothers issues of the set).
Standouts include "Stay the Night," "We Can Stop the Hurtin'," "Only You," and the Champlin-growled "Please Hold On"--a ripping tune as good as anything Chicago's ever done (this remaster restores the LP version of the tune, which has not been issued on CD before). Too, "Remember the Feeling" and "Hard Habit to Break" are decent ballads.
For me, the album falters with the pop-ish "Along Comes A Woman" "Prima Donna," and "You're the Inspiration" (the album's biggest hit, so I realize I'm in the minority here; your taste will, of course, vary). "Woman" and "Prima Donna" seem like they come from a completely different album, the general production on both being surprisingly substandard. I feel this lack of consistency in the production makes "17" come in at a notch below "Chicago 16," which sounded more organic to me.
But the strong tunes, flawless harmony vocals, excellent brass arrangements, and the welcome return of Bobby Lamm's voice more than compensate for these flaws, making CHICAGO 17 a worthy addition to your CD collection (check out the Lamm demo "Where We Begin"--the chord changes and harmonics are really interesting, and I wish he'd finish it on one of his solo albums).
AMAZON.COM CUSTOMER REVIEW
Chicago 17 revisited, October 3, 2006
Reviewer: Joshua Banker "jlbanker" (Clovis, CA)
This sounds AWESOME! Now granted I don't have a fancy stereo system. I use my iMac G5 with bose speakers hooked up to it but the resolution/definition in these songs are much improved from the old 80s CD. It even sounds much clearer and more detailed than the same songs that are featured on the box set that came out about 3 years ago. It is like redescoving this CD since I am able to hear it in a way I never was able to before.
The main complaint I have is the bonus track. This is probably Chicago's most consitant album and I believe it was ruined by the bonus track. The song sounds unfinished and it features Robert Lamm singing with what sounds like David Pack of Ambrosia fame. There are many other great songs that could have been used. Another complaint some may have, but I don't, is that they used the LP version to make this CD so there are a couple of songs on here that aren't going to sound like the old 80s CD. This doesn't bother me much since I grew up with the LP version.
So if you have fond memories of this album like I did or you are a fan of 80s music... buy this CD!
Half.com Details
Contributing artists: Donny Osmond, Gary Grant, Greg Adams, Michael Landau, Paul Jackson, Richard Marx
Producer: David Foster
Album Notes
Chicago: Peter Cetera (vocals, bass); Bill Champlin (vocals, guitar, keyboards); Bobby Lamm (vocals, keyboards); Chriss Pinnick (guitar); Walt Parazaider (woodwinds); Lee Loughane (trumpet); Jimmy Pankow (trombone); Danny Seraphine (drums).
Additional guest artists: Mark Goldenberg, Paulinho Da Costa (percussion); Gary Grant (horns); Greg Adams (horns); Richard Marx, Donny Osmond (background vocals); Michael Landau, Paul Jackson.
Recorded at The Lighthouse, North Hollywood, California; The Record Plant, Los Angeles, California and Sunset Sound, Hollywood, California.
|
