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9 of 9 people found the following review helpful:
4.0 out of 5 stars
The Long Road To Loving Chicago 18, June 30, 2006
When I first bought Chicago 18 in 1986 (just about the day it came out), I was anticipating a rebound from 17, which I thought was a little too vanilla at the time. I hoped for something more like 16 - the 80s, techno Chicago, except that I was hoping that after two or three albums we would finally have a decent trombone or trumpet solo a la Chicago III or V. I KNEW that Chicago could put the jazz and brass into their 80s sound, and couldn't figure out why neither they nor David Foster had figured it out yet. And I still had hopes that something more like the Kath approach to guitar would finally be discovered (and that there would not be this corps of studio guitarists).
But - I was like a lot of Chicago fans that were so absorbed in what we thought Chicago had to sound like (we wanted CTA over and over again), that we failed to hear good music and to realize that, yes, this was Chicago, too.
What I saw and heard broke my heart. I listened to it maybe only once or twice. I hated the picture - what was all this Hollywood glitz clothing (dressing like 25 years olds instead of the middle-aged guys they had become). I wondered where Peter Cetera was. And for some reason - the sound really disappointed me. This was the album that caused me to give up on Chicago for over ten years (I came back after hearing, and loving, the Christmas album).
Cut to 1999 - when I finally bought the CD and listened to it anew, with a renewed appreciation for Bill Champlin and the post-Kath/Cetera sound. I find this album to be one of the most enjoyable listens of all of their albums. It does not have a true standout song, but the entire album heard at once, is a unique experience. Each song folds cleanly into the next. The 25 or 6 to 4 is a little detour in the middle of the ballads. The sax solo on Forever is a welcome addition. Free Flight has an almost comical "Hey, we're still here!" feel. I personally believe that Side Two (cuts 6 thru 10) is among Chicago's best Sides Two. It is possibly even better than V's Side Two. Over and Over, and It's Alright are dynamite back-to-back cuts.
Chicago 18 may be an acquired taste to many die-hard Chicago fans. You have to get beyond thoughts of Terry and Peter being gone, and get used to the idea of, "yes, it's Chicago." Enjoy this legendary band in all of it's flavors.
Pop music collectors should love this Chicago effort - which, as Chicago XI did for their second Guercio Era, shows them at the top of their craft, during the Foster Era. But it is not as good as 16, and Jason is still learning the ropes, so I give it just 4-stars.
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9 of 10 people found the following review helpful:
5.0 out of 5 stars
18: Chicago's graduation from the pop stratosphere?, May 2, 2004
Chicago 18 was the first record without the unmistakable tenor, Peter Cetera, and it was every bit as worthy (if not more) as Chicago 17. With the combination of technical prowess, superior songwriting, performance, and production, every song is a hit on this record. Unfortunately, Warner Bros. only gave 3 of the 11 tracks serious promotional backing, relegating much of the blissfulness to b-sides.
Sonically, the record is superb. I love the "morphed" sound on the vocals, a combination of performance talent and technical wizardry on part of the band and engineer, Humberto Gatica. Studio musicianship and songwriting are stellar. LA cats like Bobby Caldwell, David Foster, Steve Kipner, Steve Lukather, and Michael Landau contributed greatly to this record's work. It should be noted that Chicago 19 ushered in the era of Diane Warren contributions, marking a fan-recognized "sell-out." Horn arrangements on 19 were more compromised or absent, but on 18 they're every bit as dizzying as 17's.
The production on 18 can't be beaten. This was David Foster's swan song as Svengali, but nonetheless... the man knows melody, aesthetics, and smoothness. As I alluded to before, his presence was greatly missed on subsequent Chicago releases.
Though the whole record is a highlight, I will only highlight Chicago 18's most obvious items. "Niagara Falls" (remember this one?) was the upbeat release that never cracked the top 40, vocally featuring Chicago rookie, Jason Scheff. "Forever" was another upbeat number touching on the significance of eternal commitment amongst divorce casualties. This features an awesome tenor sax solo and Robert Lamm's smooth, baritone lead vocal (it's nice to hear him every now and again). "If She Would've Been Faithful" was a top 20 hit featuring 18's best lyric. "25 or 6 to 4" was an excellent remake in terms of work, but---in my only criticism---why fix unbroken nostalgia? "Will You Still Love Me?" was the top 10 hit, shades of David Foster's "Theme from St. Elmo's Fire" all over---perfect for weddings. That one always takes me back to grade school, as it's my favorite Chicago hit. "It's Alright" is a good upbeat clap-along number, featuring Bill Champlin in all of his gruff splendor. "One More Day" is my personal favorite. It features the sweetest horn solo turnaround and intro of all time (the intro reminds me of Richard Marx)! It's not the greatest lyric, but it does have a message that's every bit as sweet as its vehicle. The children's chorus is a heart-warmer, too.
After Chicago 16, 17, and 18, there was not much room for improvement. Good job, Chicago. They don't make records like this anymore.
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5 of 5 people found the following review helpful:
4.0 out of 5 stars
Hindsight is 20/20!, October 21, 2007
"Chicago 18" came out the in September of the same year that I graduated from high school, 1986. During high school, I played trumpet in the concert band and piano in jazz band. I was introduced to Chicago via the radio when "17" hit the charts in 1984; moreso, when my brother bought the album and I got a chance to listen to the entire thing. What drew me to them was the brass. Not only could they play fast, but Lee Loughnane could play high, which is any trumpet player's aspiration - the higher the better, especially when you're a kid (any trumpet players out there laughing? "Maynard" your childhood hero?) Chicago was also my band director's favorite band. He got me listening to the older albums - so I purchased "Chicago V," a greatest hits album, "16," and when eventually all of his albums from "V" through "13."
When I first heard "18" on the radio in the fall of 1986, I was devastated. What was this new sound? It wasn't the Chicago I listened to in high school. I hated it! Fortunately, a college education in music and twenty years of hindsight have softened my tone. It really wasn't as bad as I had thought and I own both the LP and CD and totally enjoy listening to the songs.
"Chicago 18" was Chicago's third installment with producer David Foster. Foster again brought in a host of studio musicians, including Steve Lukather from Toto and tunes written by many outside sources. The album spawned three hits: "Will You Still Love Me" which went #3 in the fall of 1986; the lesser known "Niagra Falls," which peaked at #91 during the summer of 1987; and "If She Would Have Been Faithful," which got up to #17 in October of 1987.
On the whole, the approach is a new direction towards more synth pop/drums and less emphasis on the brass and jazz influences. Most of the tunes follow the typical 1980's pop format - likeable melodies, catchy choruses, and lots of electronics - not much acoustic here (except for the brass). Since nothing unique stands out, both in the arrangments of the songs and performance by the musicians, I can't give it five stars.
My favorite tunes are written by veteran's of the band: Robert Lamm's "Forever" and James Pankow's "One More Day." "Forever" is an awesomely written song about commitment in a relationship/marriage and perhaps has the best saxophone solo ever performed by Walter Parazaider. The brass solis on both tunes are also equally impressive- in fact, if you're a "17" fan, they're similar to the one on "Once in a Lifetime." Outside of those two tunes, the brass really play a minor role - one that reaches it's unfortunate demise on their following album.
Two items that I must mention because of the bad press they receive are the addition of Jason Scheff, who replaced lead singer Peter Cetera, and the remake of "25 or 6 to 4." It is this reviewer's opinion that Scheff has done a great job filling the void of high tenor/bass. He's a fine song writer, plays equally as well on bass as Cetera did, and also has a strong, clear voice. I would not call him a Jaco Pastorius, for those bass fans, but he more-than fills the job.
As far as the remake of "25," when I was a teenager I hated it. As a musical purist, if it had been any other group, I still would hate it. However, being that Robert Lamm and James Pankow, both still members of Chicago, wrote the tune and approved of the changes, who am I to talk? Didn't the major classical composers revise their own pieces and are still respected? Richard Wagner rewrote Tannhauser for the Paris opera some twenty years after it's initial production; Rachmaninoff altered his entire 2nd piano sonata because the first version was unplayable except by the most technically talented; Robert Schumann his 2nd piano sonata, because his wife Clara, a concert pianist, declared that the 4th movement was too difficult (incidentally, I performed both sonatas when I was in college). I still like the original better primarily because Terry Kath's guitar solo is so extraordinary and unusual.
In conclusion, if you're new to Chicago and looking to explore new territory, this is a start, but not what I'd call the definitive Chicago. If you want that, definitely do not start with a greatest hits album! Start with the original "CTA" album, then listen to "II," "VII," and "17." I'd even recommend "Twenty 1." After that, you'll have a good idea of their sound and can start filling in the holes.
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