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DISCID=8009ce0a
DTITLE=Chicago / Chicago 17 (West German ''Target'' Pressing)
DYEAR=1984
DGENRE=Rock
TTITLE0=Stay The Night
TTITLE1=We Can Stop The Hurtin'
TTITLE2=Hard Habit To Break
TTITLE3=Only You
TTITLE4=Remember The Feeling
TTITLE5=Along Comes A Woman
TTITLE6=You 're The Inspiration
TTITLE7=Please Hold On
TTITLE8=Prima Donna
TTITLE9=Once In A Lifetime
EXTD=Chicago 17 (West German ''Target'' Pressing)\n\nOriginally Releas
EXTD=ed May 1984\nCD Edition Released \nRemastered + Expanded CD Editi
EXTD=on Released October 3, 2006\n\nAMG EXPERT REVIEW: Chicago 16 fina
EXTD=lly gave Chicago a big hit after a four-year drought, thanks in l
EXTD=arge part to new producer David Foster, who steered the jazz-rock
EXTD= veterans toward a streamlined, crisply produced pop direction on
EXTD= that 1982 effort. Given that success, it's no surprise that the 
EXTD=septet teamed with Foster again for its next album, 1984's Chicag
EXTD=o 17 (apparently Roman numerals were left behind along with their
EXTD= progressive jazz-rock). It's also no surprise that Foster took a
EXTD=n even greater control of 17, steering the group further down the
EXTD= adult contemporary road and pushing Peter Cetera toward the fron
EXTD=t of the group, while pushing the horns toward the back. Indeed, 
EXTD=it's often possible to not notice the horns on 17; they either fa
EXTD=de into the background or meld seamlessly with the synthesizers t
EXTD=hat are the primary instruments here, providing not just the fabr
EXTD=ic but foundation of nearly all the arrangements, as synth bass a
EXTD=nd drum machines replaced the rhythm section. This did not sit we
EXTD=ll with many longtime fans -- and it may have also caused some te
EXTD=nsion within the group, since Cetera left after this album -- but
EXTD= it did make for the biggest hit album in Chicago's history, goin
EXTD=g quadruple platinum and peaking at number four on the Billboard 
EXTD=charts. A big reason for its success is the pair of hit ballads i
EXTD=n "Hard Habit to Break" and "You're the Inspiration," two big and
EXTD= slick dramatic ballads that each peaked at number three on the c
EXTD=harts and helped set the sound for adult contemporary pop for the
EXTD= rest of the decade; the likes of Michael Bolton and Richard Marx
EXTD= are unimaginable without these songs existing as a blueprint (in
EXTD= fact, Marx sang backup vocals on "We Can Stop the Hurtin'" on 17
EXTD=). \n\nBallads were a big part of 17 -- in fact, these hits and a
EXTD=lbum cuts like "Remember the Feeling" are among the first power b
EXTD=allads, ballads that were given arena rock flourishes and dramati
EXTD=c arrangements but never took the focus off the melody, so housew
EXTD=ives and preteens alike could sing along with them. Power ballads
EXTD= later became the province of hair metal bands like Bon Jovi and 
EXTD=Poison, but Foster's work with Chicago on 17 really helped set th
EXTD=e stage for them, since he not only gave the ballads sweeping roc
EXTD=k arrangements, but the harder, punchier tunes here play like bal
EXTD=lads. Even when the band turns up the intensity here -- "Stay the
EXTD= Night" has a spare, rather ominous beat that suggests they were 
EXTD=trying for album-oriented rock; "Along Comes a Woman" has a stiff
EXTD= drum loop and a hiccupping synth bass that suggests dance-pop --
EXTD= the music is still slick, shiny, and soft, music that can appeal
EXTD= to the widest possible audience. 17 did indeed find the widest p
EXTD=ossible audience, as it ruled radio into late 1985, by which time
EXTD= there were plenty of imitators of Foster's style. There may have
EXTD= been plenty of imitators -- soon, solo Cetera was one of them, m
EXTD=aking music that was indistinguishable from this -- but nobody be
EXTD=ttered Foster, and Chicago 17 is his pice de rsistance, a recor
EXTD=d that sounded so good it didn't quite matter that some of the ma
EXTD=terial didn't stick as songs; as a production, it was the pinnacl
EXTD=e of his craft and one of the best adult contemporary records of 
EXTD=the '80s, perhaps the best of them all. Certainly, it's hard to t
EXTD=hink of another adult contemporary album quite as influential wit
EXTD=hin its style as this -- not only did it color the records that f
EXTD=ollowed, but it's hard not to think of Chicago 17 as the place wh
EXTD=ere soft rock moved away from the warm, lush sounds that defined 
EXTD=the style in the late '70s and early '80s and moved toward the cr
EXTD=isp, meticulous, synthesized sound of adult contemporary pop, for
EXTD= better or worse, depending on your point of view. [Rhino reissue
EXTD=d Chicago 17 in 2006 with remastered sound and a bonus track: Rob
EXTD=ert Lamm's previously unreleased "Where We Begin."] -- Stephen Th
EXTD=omas Erlewine\n\nAMAZON.COM CUSTOMER REVIEW\nAnother Cetera Solo 
EXTD=Record, October 8, 2006\nReviewer: D. Francella (Frederick County
EXTD= , MD)\nBy 1984 Chicago was Cetera's back-Up band. Cetera release
EXTD=d two successful solo records "Peter Cetera" , and "Solitude/Soli
EXTD=tare". David Foster wanted 17 to sound just like peter's solo rec
EXTD=ords. He got the sound he wanted. \nThis record sold 7.5 million 
EXTD=copies and is the most sucessful Chicago record. Just about all t
EXTD=he songs on this record were released as singles. \nThier 1st sin
EXTD=gle "stay the night / only you" would reach number 16 on the char
EXTD=ts. Their second single "Hard habit ot break/remember the feeling
EXTD=" would reach number 3 on the charts. Their 3rd single "your the 
EXTD=inspiration/love me tomorrow" would reach reach number 3 on the c
EXTD=harts. Their last single "along comes a women/ we can't stop the 
EXTD=hurtin" would reach number 15 on the charts. \nOverall out of the
EXTD= 22 studio album for chicago I rank this one at number 21. This m
EXTD=uisc is horible and it's very outdated. You can listen to some of
EXTD= the chicago records and the music sound just as good now as it d
EXTD=id 35 years ago. "We can't stop the hurtin" and "Where we Begin" 
EXTD=are the two best songs on this record. \nAs for the Rhino reissue
EXTD= once again they did an excellent job remastering and repackagein
EXTD=g the album. The sound quality is great. If your a fan this recor
EXTD=d and you own the original i reconment buying the remaster.I'm ju
EXTD=st curious why they left out "good for nothin'" as the second bon
EXTD=us track. \n\nAMAZON.COM CUSTOMER REVIEW\nGreat but could have be
EXTD=en better, October 5, 2006\nReviewer: Jim S. Place (Grand Island,
EXTD= NY United States)\nOverall this is a teriffic album. Where it fa
EXTD=lls short is with the song Please Hold On. The original LP had a 
EXTD=different version than did the original CD...this release missed 
EXTD=a golden opportunity to combine the 2 versions of what may be Chi
EXTD=cago's best 1980's song.\n\nAMAZON.COM CUSTOMER REVIEW\nBeefed Up
EXTD= Re-Master of the Monster Hit, October 4, 2006\nReviewer: Bill Fl
EXTD=eck (Wurtsboro, NY USA)\nThe liner notes say it all: it's sold ab
EXTD=out 7 million copies, the biggest-selling set in Chicago's 40-yea
EXTD=r history. It's called CHICAGO 17, and a new, beefed-up Rhino rem
EXTD=aster with a bonus track shows it's still pretty good stuff after
EXTD= all these years. \n\nOne reason for this is the addition of voca
EXTD=list/keyboardist/guitarist Bill Champlin. A Grammy-Award winning 
EXTD=songwriter, Champlin is also in possession of some of the greates
EXTD=t pipes in rock. On "17," he trades vocals effectively with the m
EXTD=ore familiar sound of Pete Cetera (his last bow with the group), 
EXTD=and writes a hell of a tune or two. \n\nThe production of David F
EXTD=oster is another reason. Chicago's first producer/mentor was Jame
EXTD=s William Guercio, a man ahead of his time. After his split with 
EXTD=the band, the boys seemed directionless; the tunes became "discoe
EXTD=d" and stale. Foster--brought on board in 1982 by Champlin (just 
EXTD=in time to produce CHICAGO 16)--brings his tune-smithing, slammin
EXTD=g drums, and modulation to this set, and the results on most song
EXTD=s are well worth hearing (this remaster also beefs up the volume,
EXTD= a definite improvement over previous Warner Brothers issues of t
EXTD=he set). \n\nStandouts include "Stay the Night," "We Can Stop the
EXTD= Hurtin'," "Only You," and the Champlin-growled "Please Hold On"-
EXTD=-a ripping tune as good as anything Chicago's ever done (this rem
EXTD=aster restores the LP version of the tune, which has not been iss
EXTD=ued on CD before). Too, "Remember the Feeling" and "Hard Habit to
EXTD= Break" are decent ballads. \n\nFor me, the album falters with th
EXTD=e pop-ish "Along Comes A Woman" "Prima Donna," and "You're the In
EXTD=spiration" (the album's biggest hit, so I realize I'm in the mino
EXTD=rity here; your taste will, of course, vary). "Woman" and "Prima 
EXTD=Donna" seem like they come from a completely different album, the
EXTD= general production on both being surprisingly substandard. I fee
EXTD=l this lack of consistency in the production makes "17" come in a
EXTD=t a notch below "Chicago 16," which sounded more organic to me. \n
EXTD=\nBut the strong tunes, flawless harmony vocals, excellent brass 
EXTD=arrangements, and the welcome return of Bobby Lamm's voice more t
EXTD=han compensate for these flaws, making CHICAGO 17 a worthy additi
EXTD=on to your CD collection (check out the Lamm demo "Where We Begin
EXTD="--the chord changes and harmonics are really interesting, and I 
EXTD=wish he'd finish it on one of his solo albums).\n\n\nAMAZON.COM C
EXTD=USTOMER REVIEW\nChicago 17 revisited, October 3, 2006\nReviewer: 
EXTD=Joshua Banker "jlbanker" (Clovis, CA)\nThis sounds AWESOME! Now g
EXTD=ranted I don't have a fancy stereo system. I use my iMac G5 with 
EXTD=bose speakers hooked up to it but the resolution/definition in th
EXTD=ese songs are much improved from the old 80s CD. It even sounds m
EXTD=uch clearer and more detailed than the same songs that are featur
EXTD=ed on the box set that came out about 3 years ago. It is like red
EXTD=escoving this CD since I am able to hear it in a way I never was 
EXTD=able to before. \n\nThe main complaint I have is the bonus track.
EXTD= This is probably Chicago's most consitant album and I believe it
EXTD= was ruined by the bonus track. The song sounds unfinished and it
EXTD= features Robert Lamm singing with what sounds like David Pack of
EXTD= Ambrosia fame. There are many other great songs that could have 
EXTD=been used. Another complaint some may have, but I don't, is that 
EXTD=they used the LP version to make this CD so there are a couple of
EXTD= songs on here that aren't going to sound like the old 80s CD. Th
EXTD=is doesn't bother me much since I grew up with the LP version. \n
EXTD=\nSo if you have fond memories of this album like I did or you ar
EXTD=e a fan of 80s music... buy this CD!\n\nHalf.com Details \nContri
EXTD=buting artists: Donny Osmond, Gary Grant, Greg Adams, Michael Lan
EXTD=dau, Paul Jackson, Richard Marx \nProducer: David Foster \n\nAlbu
EXTD=m Notes\nChicago: Peter Cetera (vocals, bass); Bill Champlin (voc
EXTD=als, guitar, keyboards); Bobby Lamm (vocals, keyboards); Chriss P
EXTD=innick (guitar); Walt Parazaider (woodwinds); Lee Loughane (trump
EXTD=et); Jimmy Pankow (trombone); Danny Seraphine (drums). \n\nAdditi
EXTD=onal guest artists: Mark Goldenberg, Paulinho Da Costa (percussio
EXTD=n); Gary Grant (horns); Greg Adams (horns); Richard Marx, Donny O
EXTD=smond (background vocals); Michael Landau, Paul Jackson.\n\nRecor
EXTD=ded at The Lighthouse, North Hollywood, California; The Record Pl
EXTD=ant, Los Angeles, California and Sunset Sound, Hollywood, Califor
EXTD=nia.
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