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8 of 11 people found the following review helpful:
3.0 out of 5 stars
Beefed Up Re-Master of the Monster Hit, October 4, 2006
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).
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