Chicago XXX

Loved this CD! From Feel, to some of the best ballads and rockers from the band in a long time. Sure, whoever put the tracks on the disc had no clue about mixing things up better (don't put all the ballads together!), but the quality of the songs and the production is too notch. I would even say on David Foster's level in some spots. I still find myself enjoying and cranking up this CD. And it marks the last time we hear Bill Champlin with the group (on original stuff) and he was sounding awesome. And honestly, when I find myself playing ballads really loudly, I know it's good. :) Two thumbs up!

Chicago has had a long and unusual career. They started out as a progressive rock band with horns in the late 60's. However by the mid-70's the band would find themselves adjusting into more adult contemporary territory until by the 1980's, they had pretty much abandoned all their creative integrity in favor of power ballads with lip-gloss production (courtesy of Mr. David Foster). However the oil well would run dry by the early 90's with the advent of alt-rock and Chicago would find themselves out of touch with the music scene. The band realized this and proceeded to record the album STONE OF SISYPHUS, a return-to-form album that would depart from the rather shallow power ballads that had revived their career in the 80's. However the record label flat-out rejected the album, and Chicago has since transitioned into a comfortable oldies act since. It seemed unlikely that Chicago would put out any new albums of original music. They instead played it safe by putting out Christmas albums, live albums, and even a (pretty good) big band album. But by 2006, Chicago finally found the confidence to record new music and XXX was released. Was it worth the weight? Ultimately this album is a mixed big; it seems as though Chicago was trying to combine all the elements (horns, ballads, uptempo songs) to make an album that would please everyone. It is clear they were hoping to score a few more hits by having Rascal Flatts' Jay DeMarcus as producer. The first half of the album consists almost entirely of power ballads. These songs have no more depth than the ballads they put out in the 80's, but are far less memorable. The second half is more adventurous with more up-tempo numbers. Far and away the most interesting song on the album is Robert Lamm's "90 Degrees and Freezing"; a song that briefly teases the original jazz-rock sound of old-school Chicago. He also supplies the song "Come To Me, Do" which, although plenty catchy, is so over-produced and poppy that it would fare better as the theme song for a soft drink commercial. Bill Champlin also keeps the ball rolling with a number of upbeat songs like "Lovin' Chains" which feature his soulful vocals. Overall XXX does not offer anything new, but I am glad to see the band take a stab at original music again. Hopefully this won't be their last attempt. However, should they put out any new albums, I strongly hope they take a hint at what Lamm has been doing with his solo albums and concentrate more on a satisfying album instead of shallow attempts at getting radio airplay.

They need the song writing talent of David Foster (like they had during 16, 17 and 18) and that would take them a long way. Yes having Peter Cetera back is essential. I know they don't want to hear that but it's just as true as it can be.

I mean, the album's alright, but where is the awesome band i heard in Chicago 2, and other earlier chicagos? I was unimpressed with this album because of 1- they used pitch corrector 2- they returned to their "sinthy" sound found mostly in the Chicagos 13-20, and 3- No originality. I've heard all of this before, either from the band themself or someone else. To me, this was a let down.

I like a few tracks on this album and listen to them regularly. 90 Degrees and Freezing is one of the best, as they surprisingly broke loose with some jazz fusion. But the rest is standard pop. Not saying I wanted another CTA, but they could have been at least more Stone of Sysiphus.

What started out as a solo album for Jason Scheff morphed into a new group album. The first part of the album, tracks 2, 4, 5, and 6, seem to make this release feel a little power-ballad heavy and sluggish. If you like that side of Chicago that is played on MOR and adult contemporary radio then you might like these tracks. If you prefer something in the R&B vain you'll like tracks 8, 9, 11, and 12. Pop sensibilities prevail on tracks 1, 3, 7,10, and 13. A little something for everybody. However, the sum of the parts does not make for a totally satisfying listening experience. It makes it feel uneven.

This was definitely a long awaited album for us Chicago fans. Highlights are Feel (I prefer the with horns version), Caroline, Love Will Come Back, Where Were You, and Come to Me Do.

I'm a die hard Chicago fan, but this is a great album regardless. To those who have waited for original music from the windy city boys you won't be disappointed. Yes, there are ballads on this album, but most albums these days have a slow song or two. It makes the straight rocker hits that much better. The horns are more prevalent here than in past endeavors, and to me that's what made this band who they are and set them apart from the pack. What other rock-horn bands are still touring and releasing new music?

I really never did care for country music, so It's only natural that I don't like the country undertones. It's not completely horrible, though, so two stars for effort.

I would think that this was some modern pop group, not the jazz-rock from the 60's and 70s that we know as chicago. Even their 80s stuff is better than this!!