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I have been a Chicago fan since Chicago 17 and then discovered the magic of their earlier material. Chicago XXX fits squarely and wonderfully within the context of their canon. The songs of this album are well constructed and well produced, and demonstrate the band's ability to layer sounds, producing a sound that rewards close listening with headphones. Many reviewers are snarking about how it lacks an experimental edge and panders to the '80's sappy ballad movement. The main problem with that is that tunes like "Free Form Guitar," from Chicago Transit Authority, and "Prelude to Aire," from Chicago VII, were different and new, but never easy to enjoy. They also didn't sell records. Chicago XXX contains songs that fit snugly into the best of Rock/Pop: the tracks are all singable and memorable tunes. Everything about this album should be pleasurable to the Chicago fan. The soaring power ballads are amply represented with "King of Might Have Been," "Caroline," "Long Lost Friend." "Feel," their first single from the album, might be a metaphor for the band's long studio silence. Some of the most noteworthy material are the two collaborative tracks on the album. "Love Will Come Back" features the combined forces of Chicago and Rascal Flatts and produces a rich and novel mix for the bands. "Why Can't We," with Shelly Fairchild, mixes the husky voice of Champlin with Fairchild's bluesy alto for a slightly R&B take on Chicago. The weakest songs are the Champlin-led tunes that dominate the second half of the album. While I understand his role as Terry Kath's replacement, Champlin sounds best while under strict vocal control from a producer. "Already Gone," "Lovin' Chains," and "Better" all have enough to qualify them for the same lower level status as "Only You" (Chicago 17), "I Believe" (Chicago 18), and "Come in From the Night" (Chicago 19). All good stuff, but no match to the complexity and control of the other tunes. One of the best tunes on the album is "90 Degrees and Freezing," a negative take on "Saturday in the Park." The tune is catchy, upbeat, clever, and has a bridge that sounds like some of the solo licks on CTA. Every time I listen to it I discover more to it. Overall - well worth the purchase price and right up there with the better Chicago albums of the last 40 years.Read full review
OK, I'm a fan and a bit biased. However, compare this to the other new music out there. All of a sudden, this looks quite good. If your CD must have an "explicit lyrics" label, if you must hear it on what we used to call Top 40 radio, or if you think the band ended with the untimely demise of Terry Kath, then perhaps you should pass. Otherwise, sample the tunes and you might be pleasantly surprised. By the way, even though the producer has worked with Rascal Flatts, don't be scared off by that; it doesn't sound country (even if it did, you know some of Chicago's early stuff had that influence anyway).
Let me start off by saying Chicago is one of the most talented and solid bands out there. I grew up listening to Chicago from the start and have enjoyed the music over the years and even having a chance to meet them. But I must say this c.d. is average at best. Maybe my expectations of this c.d. was set very high but it just did not do it for me. I listen to it from time to time but I think maybe they should go back to the old school style of music and try to make that sound more modern or appealing to the younger generation. I personally think it is missing some of the old flavor of Chicago.
I love Chicago, although not the heights of xx1 or earlier productions. Still good though.
Verified purchase: Yes | Condition: Pre-owned
Great
Verified purchase: Yes | Condition: Pre-owned
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