Published on Mar 21, 2006
It was in 8th grade that I started to appreciate and
listen to rock. The band that brought that out of me was Chicago,
not coincidentally one of my dad’s favorite bands. I remember
joining Chicago message boards and reading that a completely new
album was coming out. That was six years ago.
Since then, I’ve moved onto other bands, other
singers. I’ve grown to love music more than I ever would have
expected. Yet through it all, I still wanted to get the chance to
experience a new Chicago album. To be honest, I did not expect the
opportunity to arise, but suddenly today I was rewarded with
Chicago’s 30th album.
Chicago fans be warned; this is not the second coming
of CTA. In fact, XXX doesn’t come close to the best albums
of the band. The record also is not a return to form of the early
70s sound. What it is instead is the best possible record Chicago
could have recorded in 2006. There are hints of the 70s and 80s era
of the band that are molded into a modern sound.
The best such example of this variety is evident
after one listen through the album. Essentially, the first six
tracks are power ballads in the vein of what one would have heard
on 17. The second half of the album reverses course
completely, resembling the pop of XI or X. Because of
this half and half phenomenon, problems do arise in the overall
momentum of XXX. In fact, my biggest complaint was that the
running order should have been altered, with a better mix between
the up-tempo tracks and the ballads.
A few tracks stand out in the first half above the
rest. “King Of Might Have Been” defines the prototypical Chicago
ballad, staring out slowly but gradually hitting its stride with a
strong chorus and backing orchestration reminiscent of “Love Me
Tomorrow” or “Hard To Say I’m Sorry,” while “Caroline” claims the
title of best ballad.
All three of the lead vocalists make appearances,
asserting once again that Robert Lamm, Bill Champlin, and Jason
Scheff make a terrific mix. XXX is Jason Scheff’s strongest
album since the 80s; the songs are more suited to his style rather
than attempting to imitate Peter Cetera’s. On top of that, the horn
section of Jimmy Pankow, Lee Loughnane, and Walt Parazaider blend
perfectly with the vocals, weaving in and out at the opportune
moments, hitting all the right notes. Producer and member of Rascal
Flatts Jay Demarcus and his fellow band members contribute
beautiful vocals to “Love Will Come Back,” adding a small blend of
country to the proceedings.
The horn section, which in the 80s was pushed aside,
is finally back in the forefront for XXX, mixed as
prominently as the drums or guitars. On a bluesy number like
“Already Gone,” the horns that drive the song. This is easily
Pankow’s best work since the big band tribute album Night &
Day. There are a few moments thrown in for the individual brass
players to shine, such as the point in “Already Gone” where the
pace slows to throw in some old school 50s jazz trumpet and flute.
“90 Degrees And Freezing” showcases some of the most energetic
performances from the three off the whole album, while concurrently
being the best example of the jazz-rock band Chicago once was.
It is the second half of XXX where things
really pick up, and the best music off the album can be found. The
first four tracks are a series of stellar songs, allowing the band
to stretch out musically and rock a little bit for the first time
in decades. “Come To Me” is a modern reworking of one of my
favorite Chicago tracks, “This Time,” capturing that 70s vibe
perfectly. “Where Were You” is as close to balls-out rock as
Chicago has gotten since Stone Of Sisyphus, going for meaty
guitar riffs and a strong refrain.
Everything is not rosy on XXX, though. The
opening track, “Feel,” is present in a non-horns and
horns-inclusive form. The same track with superficial differences
is unacceptable, especially when the non-horns version lacks that
Chicago sound. Without the horns, it’s a standard mid-tempo ballad.
“Why Can’t We” is a duet between Bill Champlin and Shelly
Fairchild, but lacks a sense of chemistry between the two, and when
sparks don’t fly during a duet it usually spells ineffectiveness.
Also, “Long Lost Friend” is the one track on the record that sound
like it could have been lifted straight off 21, and also
happens to be the most cloying and clichéd ballad of the
bunch. The other slower numbers certainly aren’t original, but they
are just stronger works.
Overall, XXX contains its share of catchy
melodies and professional performances while giving off the
impression that the members of Chicago were having fun, which
unifies the material. Flaws and all, it is easily their best
official studio album since the mid 80s.