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DISCID=7e09cc0a
DTITLE=Chicago / Chicago 17 (Japanese ''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 (Japanese ''Target'' Pressing)\n\nOriginally Released 
EXTD=May 1984\nCD Edition Released \nRemastered + Expanded CD Edition 
EXTD=Released October 3, 2006\n\nAMG EXPERT REVIEW: Chicago 16 finally
EXTD= gave Chicago a big hit after a four-year drought, thanks in larg
EXTD=e part to new producer David Foster, who steered the jazz-rock ve
EXTD=terans toward a streamlined, crisply produced pop direction on th
EXTD=at 1982 effort. Given that success, it's no surprise that the sep
EXTD=tet teamed with Foster again for its next album, 1984's Chicago 1
EXTD=7 (apparently Roman numerals were left behind along with their pr
EXTD=ogressive jazz-rock). It's also no surprise that Foster took an e
EXTD=ven greater control of 17, steering the group further down the ad
EXTD=ult contemporary road and pushing Peter Cetera toward the front o
EXTD=f the group, while pushing the horns toward the back. Indeed, it'
EXTD=s often possible to not notice the horns on 17; they either fade 
EXTD=into the background or meld seamlessly with the synthesizers that
EXTD= are the primary instruments here, providing not just the fabric 
EXTD=but foundation of nearly all the arrangements, as synth bass and 
EXTD=drum machines replaced the rhythm section. This did not sit well 
EXTD=with many longtime fans -- and it may have also caused some tensi
EXTD=on within the group, since Cetera left after this album -- but it
EXTD= did make for the biggest hit album in Chicago's history, going q
EXTD=uadruple platinum and peaking at number four on the Billboard cha
EXTD=rts. A big reason for its success is the pair of hit ballads in "
EXTD=Hard Habit to Break" and "You're the Inspiration," two big and sl
EXTD=ick dramatic ballads that each peaked at number three on the char
EXTD=ts and helped set the sound for adult contemporary pop for the re
EXTD=st of the decade; the likes of Michael Bolton and Richard Marx ar
EXTD=e unimaginable without these songs existing as a blueprint (in fa
EXTD=ct, 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 albu
EXTD=m cuts like "Remember the Feeling" are among the first power ball
EXTD=ads, ballads that were given arena rock flourishes and dramatic a
EXTD=rrangements but never took the focus off the melody, so housewive
EXTD=s and preteens alike could sing along with them. Power ballads la
EXTD=ter became the province of hair metal bands like Bon Jovi and Poi
EXTD=son, but Foster's work with Chicago on 17 really helped set the s
EXTD=tage for them, since he not only gave the ballads sweeping rock a
EXTD=rrangements, but the harder, punchier tunes here play like ballad
EXTD=s. Even when the band turns up the intensity here -- "Stay the Ni
EXTD=ght" has a spare, rather ominous beat that suggests they were try
EXTD=ing for album-oriented rock; "Along Comes a Woman" has a stiff dr
EXTD=um loop and a hiccupping synth bass that suggests dance-pop -- th
EXTD=e music is still slick, shiny, and soft, music that can appeal to
EXTD= the widest possible audience. 17 did indeed find the widest poss
EXTD=ible audience, as it ruled radio into late 1985, by which time th
EXTD=ere were plenty of imitators of Foster's style. There may have be
EXTD=en plenty of imitators -- soon, solo Cetera was one of them, maki
EXTD=ng music that was indistinguishable from this -- but nobody bette
EXTD=red Foster, and Chicago 17 is his pice de rsistance, a record t
EXTD=hat sounded so good it didn't quite matter that some of the mater
EXTD=ial didn't stick as songs; as a production, it was the pinnacle o
EXTD=f his craft and one of the best adult contemporary records of the
EXTD= '80s, perhaps the best of them all. Certainly, it's hard to thin
EXTD=k of another adult contemporary album quite as influential within
EXTD= its style as this -- not only did it color the records that foll
EXTD=owed, but it's hard not to think of Chicago 17 as the place where
EXTD= soft rock moved away from the warm, lush sounds that defined the
EXTD= style in the late '70s and early '80s and moved toward the crisp
EXTD=, meticulous, synthesized sound of adult contemporary pop, for be
EXTD=tter or worse, depending on your point of view. [Rhino reissued C
EXTD=hicago 17 in 2006 with remastered sound and a bonus track: Robert
EXTD= Lamm's previously unreleased "Where We Begin."] -- Stephen Thoma
EXTD=s Erlewine\n\nAMAZON.COM CUSTOMER REVIEW\nAnother Cetera Solo Rec
EXTD=ord, October 8, 2006\nReviewer: D. Francella (Frederick County , 
EXTD=MD)\nBy 1984 Chicago was Cetera's back-Up band. Cetera released t
EXTD=wo successful solo records "Peter Cetera" , and "Solitude/Solitar
EXTD=e". David Foster wanted 17 to sound just like peter's solo record
EXTD=s. He got the sound he wanted. \nThis record sold 7.5 million cop
EXTD=ies and is the most sucessful Chicago record. Just about all the 
EXTD=songs on this record were released as singles. \nThier 1st single
EXTD= "stay the night / only you" would reach number 16 on the charts.
EXTD= Their second single "Hard habit ot break/remember the feeling" w
EXTD=ould reach number 3 on the charts. Their 3rd single "your the ins
EXTD=piration/love me tomorrow" would reach reach number 3 on the char
EXTD=ts. Their last single "along comes a women/ we can't stop the hur
EXTD=tin" would reach number 15 on the charts. \nOverall out of the 22
EXTD= studio album for chicago I rank this one at number 21. This muis
EXTD=c is horible and it's very outdated. You can listen to some of th
EXTD=e chicago records and the music sound just as good now as it did 
EXTD=35 years ago. "We can't stop the hurtin" and "Where we Begin" are
EXTD= the two best songs on this record. \nAs for the Rhino reissue on
EXTD=ce again they did an excellent job remastering and repackageing t
EXTD=he album. The sound quality is great. If your a fan this record a
EXTD=nd you own the original i reconment buying the remaster.I'm just 
EXTD=curious why they left out "good for nothin'" as the second bonus 
EXTD=track. \n\nAMAZON.COM CUSTOMER REVIEW\nGreat but could have been 
EXTD=better, October 5, 2006\nReviewer: Jim S. Place (Grand Island, NY
EXTD= United States)\nOverall this is a teriffic album. Where it falls
EXTD= short is with the song Please Hold On. The original LP had a dif
EXTD=ferent version than did the original CD...this release missed a g
EXTD=olden opportunity to combine the 2 versions of what may be Chicag
EXTD=o's best 1980's song.\n\nAMAZON.COM CUSTOMER REVIEW\nBeefed Up Re
EXTD=-Master of the Monster Hit, October 4, 2006\nReviewer: Bill Fleck
EXTD= (Wurtsboro, NY USA)\nThe liner notes say it all: it's sold about
EXTD= 7 million copies, the biggest-selling set in Chicago's 40-year h
EXTD=istory. It's called CHICAGO 17, and a new, beefed-up Rhino remast
EXTD=er with a bonus track shows it's still pretty good stuff after al
EXTD=l these years. \n\nOne reason for this is the addition of vocalis
EXTD=t/keyboardist/guitarist Bill Champlin. A Grammy-Award winning son
EXTD=gwriter, Champlin is also in possession of some of the greatest p
EXTD=ipes in rock. On "17," he trades vocals effectively with the more
EXTD= familiar sound of Pete Cetera (his last bow with the group), and
EXTD= writes a hell of a tune or two. \n\nThe production of David Fost
EXTD=er is another reason. Chicago's first producer/mentor was James W
EXTD=illiam Guercio, a man ahead of his time. After his split with the
EXTD= band, the boys seemed directionless; the tunes became "discoed" 
EXTD=and stale. Foster--brought on board in 1982 by Champlin (just in 
EXTD=time to produce CHICAGO 16)--brings his tune-smithing, slamming d
EXTD=rums, and modulation to this set, and the results on most songs a
EXTD=re well worth hearing (this remaster also beefs up the volume, a 
EXTD=definite improvement over previous Warner Brothers issues of the 
EXTD=set). \n\nStandouts include "Stay the Night," "We Can Stop the Hu
EXTD=rtin'," "Only You," and the Champlin-growled "Please Hold On"--a 
EXTD=ripping tune as good as anything Chicago's ever done (this remast
EXTD=er restores the LP version of the tune, which has not been issued
EXTD= on CD before). Too, "Remember the Feeling" and "Hard Habit to Br
EXTD=eak" are decent ballads. \n\nFor me, the album falters with the p
EXTD=op-ish "Along Comes A Woman" "Prima Donna," and "You're the Inspi
EXTD=ration" (the album's biggest hit, so I realize I'm in the minorit
EXTD=y here; your taste will, of course, vary). "Woman" and "Prima Don
EXTD=na" seem like they come from a completely different album, the ge
EXTD=neral production on both being surprisingly substandard. I feel t
EXTD=his lack of consistency in the production makes "17" come in at a
EXTD= notch below "Chicago 16," which sounded more organic to me. \n\n
EXTD=But the strong tunes, flawless harmony vocals, excellent brass ar
EXTD=rangements, and the welcome return of Bobby Lamm's voice more tha
EXTD=n compensate for these flaws, making CHICAGO 17 a worthy addition
EXTD= to your CD collection (check out the Lamm demo "Where We Begin"-
EXTD=-the chord changes and harmonics are really interesting, and I wi
EXTD=sh he'd finish it on one of his solo albums).\n\n\nAMAZON.COM CUS
EXTD=TOMER REVIEW\nChicago 17 revisited, October 3, 2006\nReviewer: Jo
EXTD=shua Banker "jlbanker" (Clovis, CA)\nThis sounds AWESOME! Now gra
EXTD=nted I don't have a fancy stereo system. I use my iMac G5 with bo
EXTD=se speakers hooked up to it but the resolution/definition in thes
EXTD=e songs are much improved from the old 80s CD. It even sounds muc
EXTD=h clearer and more detailed than the same songs that are featured
EXTD= on the box set that came out about 3 years ago. It is like redes
EXTD=coving this CD since I am able to hear it in a way I never was ab
EXTD=le to before. \n\nThe main complaint I have is the bonus track. T
EXTD=his is probably Chicago's most consitant album and I believe it w
EXTD=as ruined by the bonus track. The song sounds unfinished and it f
EXTD=eatures Robert Lamm singing with what sounds like David Pack of A
EXTD=mbrosia fame. There are many other great songs that could have be
EXTD=en used. Another complaint some may have, but I don't, is that th
EXTD=ey used the LP version to make this CD so there are a couple of s
EXTD=ongs on here that aren't going to sound like the old 80s CD. This
EXTD= doesn't bother me much since I grew up with the LP version. \n\n
EXTD=So if you have fond memories of this album like I did or you are 
EXTD=a fan of 80s music... buy this CD!\n\nHalf.com Details \nContribu
EXTD=ting artists: Donny Osmond, Gary Grant, Greg Adams, Michael Landa
EXTD=u, Paul Jackson, Richard Marx \nProducer: David Foster \n\nAlbum 
EXTD=Notes\nChicago: Peter Cetera (vocals, bass); Bill Champlin (vocal
EXTD=s, guitar, keyboards); Bobby Lamm (vocals, keyboards); Chriss Pin
EXTD=nick (guitar); Walt Parazaider (woodwinds); Lee Loughane (trumpet
EXTD=); Jimmy Pankow (trombone); Danny Seraphine (drums). \n\nAddition
EXTD=al guest artists: Mark Goldenberg, Paulinho Da Costa (percussion)
EXTD=; Gary Grant (horns); Greg Adams (horns); Richard Marx, Donny Osm
EXTD=ond (background vocals); Michael Landau, Paul Jackson.\n\nRecorde
EXTD=d at The Lighthouse, North Hollywood, California; The Record Plan
EXTD=t, Los Angeles, California and Sunset Sound, Hollywood, Californi
EXTD=a.
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