| Name | Artist | Time | Price | ||
|---|---|---|---|---|---|
|
1 |
Feel (Hot Single Mix) | Chicago | 4:00 | $1.29 | View In iTunes |
|
2 |
King of Might Have Been | Chicago | 3:52 | $0.99 | View In iTunes |
|
3 |
Caroline | Chicago | 3:38 | $0.99 | View In iTunes |
|
4 |
Why Can't We | Chicago | 4:05 | $0.99 | View In iTunes |
|
5 |
Love Will Come Back | Chicago | 3:46 | $1.29 | View In iTunes |
|
6 |
Long Lost Friend | Chicago | 4:32 | $0.99 | View In iTunes |
|
7 |
90 Degrees and Freezing | Chicago | 3:49 | $0.99 | View In iTunes |
|
8 |
Where Were You | Chicago | 4:16 | $0.99 | View In iTunes |
|
9 |
Already Gone | Chicago | 6:50 | $0.99 | View In iTunes |
|
10 |
Come to Me, Do | Chicago | 4:36 | $0.99 | View In iTunes |
|
11 |
Lovin' Chains | Chicago | 3:55 | $0.99 | View In iTunes |
|
12 |
Better | Chicago | 4:40 | $0.99 | View In iTunes |
|
13 |
Feel (With Horns) | Chicago | 4:31 | $1.29 | View In iTunes |
| Total: 13 Songs |
Album Review
Despite the possible euphemisms of the title, 2006's Chicago XXX is not the band's raciest album since Hot Streets, nor is it their installment in the extreme-action spy series kicked off by Vin Diesel — instead, it's the veteran group's first proper studio album since 1995's flop Night and Day: Big Band, and considering that was a detour into retro-swing, XXX is their first mainstream pop album since 1991's Twenty 1, which is a 15-year gap between pop records. That's an awfully long wait — in the meantime, the band has been putting out live albums, Christmas records and hit comps, bringing the total up to 30 LPs — but apart from the diluted trip-hop beat from "Feel (Hot Single Mix)" that kicks off the album, you'd never know that XXX was made and recorded in 21st century. It sounds like it could have been released in 1991 as Twenty 1, since it contains the same kind of sunny good-time pop and power ballads that made Chicago a staple on adult contemporary stations in the late '80s. But there is a difference this time around: XXX is actually a better overall record than anything the group released in the wake of Peter Cetera's departure. Song for song, it's memorably melodic and Jay Demarcus, best-known as a member of contemporary country-pop act Rascal Flatts, has given the album a bright sheen that is nevertheless varied, punching up the horns on "Better," emphasizing the sweet melody on the "Hard to Say I'm Sorry" dead ringer "King of Might Have Been," turning up the guitars on "Caroline," a happy variation on "Look Away." It sounds as if Chicago and Demarcus went into the album with the intention that this would be a hit along the lines of Chicago 19, and while that kind of wishful thinking may not be fulfilled — there are very few radio stations in 2006 that will play this kind of slick adult contemporary music — this sense of purpose and drive has resulted in a surprisingly strong, thoroughly entertaining comeback album that's actually better than the albums it intends to emulate. It's not for every Chicago fan — those who long for either the early-'70s or early-'80s heydays will find this too produced and MOR for their liking — but fans of Chicago's late-'80s albums will find themselves right at home on XXX.
Customer Reviews
Chicago XXX, but who's counting.
First report after three complete listens... just so so. Most of my disappointment is that this disc just isn't in the league of Chicago's still unreleased "Stone Of Sisyphus" album (1993). I realize it’s unfair to compare this release to an as yet unreleased recording, but I love the horns and heavier sound on that record so much that I couldn’t help but wish for more. Let me also say that this is not a bad album at all, just not what I was hoping for. I love pop songs just as much (and probably more) than the next guy, but just how much MOR power ballads can one take? Other problems... there is a distinct lite country / pop flavor to much of this material. I thought I must be crazy, but turns out that the producer of this cd and a co-writer on some of the material (Jay DeMarcus) is from a country band called "Rascal Flatts". There is a track that features the "Rascal Flatts" and another that's a duet with a country sounding female vocalist (Shelly Fairchild). Much of this material sounds like it would be just as at home on a Faith Hill or Shania Twain record. As for sound quality, the recorded quality is excellent, but has a major flaw. The vocals on many trax are so out in front as to make it sound like the lead vocalists are doing a karaoke gig. The band is mixed so far below the vocalist as to be almost awkward. This may be commonplace on country / pop cds, but again, I still consider Chicago primarily a rock band and the mix puts the rest of band too far in the background. The famous Chicago horns are decidedly muted for much of the record, only getting the occasional bridge or little moment where they can shine. So what's good about this disc? These are very well crafted pop songs. None of them are bad. It's a very consistent record in that regard. The hooks are big and powerful and really stick with you with each repeated listen. Far and away the best track on the cd is "Already Gone" which features a really great lead vox from Bill Champlin and the best horn work on the disc. This is more along the lines of what I was hoping for. I dare say that the track was worth the price of admission! Another strong cut is "90 Degrees And Freezing" which also features a very nice horn arrangement. The other stand out cuts are “Where Were You” and the album closer (not counting the repeat play of "Feel") titled "Better" (and no... "Feel" "Better" is not clever!). Weaker cuts are "Love Will Come Back", "Why Can't We" (which does have a surprisingly nice bridge section), "Long Lost Friend" & "Come To Me, Do". Again, none of these are bad, just bland. There is nothing ballad wise even close to the great "If She Would Have Been Faithful" here, or "Bigger Than Elvis" for that matter. Just to check myself, I'm now shuffling these trax while writing this with a couple other new releases by a couple of same genre artists; Donald Fagen & TOTO. All I can say is... those two albums blow this one clear out of the water. Not even close. In fact the TOTO track "Dying On My Feet" features a horn break that simply KILLS. We know they've still got it in 'em cause Jimmy Pankow played on and did the horn arrangement for that track. Both the Fagen & TOTO discs are better than they have any right to be. The Fagen cd is just about as perfect as a record can get. Pure ear candy. There is always something interesting to tug at your ear... a little melodic or lyrical twist... always something. As for this disc... I hope it grows on me. "90 Degrees..." is on now, and it really is a nice track, so who knows. It’s great to have any new Chicago. Lastly, a quick rant about the album title. The band is calling this release Chicago XXX, but really now, is it fair to count "SOS" (which is still an officially unreleased recording and WOULD have been Chicago 22), Big Band (which I think was a real missed opportunity) Chicago 23, The Heart Of Chicago (yet another hits compilation) Chicago 24, two releases of a Christmas album - the first titled Chicago 25, the 2nd titled "What's It Gonna Be Santa" - so very sad), a live (in name only considering the huge amount of studio overdubs and re-records) cd featuring ALL Cetera era hits with nothing from the current lineup save a couple of new studio cuts called Chicago 26. Now things get REALLY confusing. I can't exactly figure out what the band is calling Chicago's 27, 28 & 29. So... let's see... "The Very Best Of Chicago: Only The Beginning" from 2002 which is a 2 disc hits collection (could this be what the band is calling Chicago 27?), Chicago "The Box" from 2003 (ok, I'm guessing this is Chicago 28? - if it is, why didn't the band's previous box set get a number?), and finally a January 25th 2005 Valentine's Day themed collection (of... you guessed it... previously released material repackaged for the umpteenth time) which is titled "Love Songs" (I'm again guessing this must be Chicago 29???). Calling this release XXX is just cheating, but it does make for a super cool cover, and one can only guess how long it would have taken to get to a legit 30th studio recording at the rate of 1 every 15 years.
Chicago proves they've still got it!
This album, produced by Rascal Flatts' Jay DeMarcus, proves that CHICAGO is alive and well and sounding better than ever. XXX has something for everyone; long time CHICAGO fans will love Robert Lamm's contributions of "90 Degrees and Freezing" and "Come to Me, Do." Those who loved the ballads of the 1980's will also enjoy a similar formula in "King of Might Have Been," "Love Will Come Back," and "Long Lost Friend," all with Jason Scheff's spectacular tenor voice leading the way. And, for those of us who like to rock out CHI-style, dig "Caroline," "Where Were You" and Bill Champlin's "Lovin Chains" and "Better." Rascal Flatts fans, you have a great reason to buy this album. "Love Will Come Back" is certain to be a hit for BOTH bands! Truly something for EVERYONE!
XXXcellent Return For Chicago
After nearly 40 incredible years of non-stop touring and hit-making albums, Chicago has done it to their fans again. They've delivered a "refined" -- yet familiar -- pop-rock sound to their music. Sparked by solid song-writing, smooth multi-layered vocals, trademark horn lines and crafty guitar riffs, "Chicago XXX" is a kaleidoscope of sorts, taken from several periods, from a band that never seems to tire (nor we of it). I also think this release has the strength and variety to appeal to the average music fan in general. Ballad-dominated at first, the album evolves with more livelier tracks. Whether it be the heartfelt power ballad "King Of Might Have Been," the jazz/rock masterpiece "90 Degrees And Freezing," (where old-school Chicago meets 2006), the pulsating rocker "Where Were You," or the mid-tempo R&B stuff like the gritty Lovin' Chains, a foot-tapping "Come To Me, Do" and the compelling AC single "Feel," of which there are two versions (one sans horns), "XXX" has it all! Even a "Night & Day" (1995)-sounding tune that's "Better." Not to mention guest appearances from country artists Rascal Flatts and newcomer Shelly Fairchild in separate ballad duets. A lifelong Chicago fan, my initial impression was how producer Jay DeMarcus (Flatts bandmember) went to great lengths to modernize the band's sound. Sonically, I find the album as great or better than any I've heard. And, while some may describe DeMarcus' approach as "overproduction," I think it gives the listener more to hear all the time. Subjective as that is, judge for yourself. Buy this album. Give it some ear time -- it's full of gems. Horns are everywhere, leaving little doubt as to XXXactly which band you're hearing. All in all, it was worth the wait!
Biography
Formed: February 15, 1967 in Chicago, IL
Genre: Rock
Years Active: '60s, '70s, '80s, '90s, '00s
Top Albums and Songs By Chicago
![The Best of Chicago (40th Anniversary Edition) [Remastered], Chicago](http://a5.mzstatic.com/us/r1000/009/Features/32/9e/de/dj.zklonsya.100x100-75.jpg)
- $9.99
- Genres: Rock, Music, Pop, Adult Contemporary, Pop/Rock
- Released: Mar 20, 2006
- ℗ 2006 Rhino Entertainment Co. A Warner Music Group Co.
