Chicago 17

構成数 : 1枚
合計収録時間 : 00:41:04
Chicago: Peter Cetera (vocals, bass); Bill Champlin (vocals, guitar, keyboards); Bobby Lamm (vocals, keyboards); Chriss Pinnick (guitar); Walt Parazaider (woodwinds); Lee Loughane (trumpet); Jimmy Pankow (trombone); Danny Seraphine (drums). Additional guest artists: Mark Goldenberg, Paulinho Da Costa (percussion); Gary Grant (horns); Greg Adams (horns); Richard Marx, Donny Osmond (background vocals); Michael Landau, Paul Jackson. Recorded at The Lighthouse, North Hollywood, California; The Record Plant, Los Angeles, California and Sunset Sound, Hollywood, California. Personnel: Bill Champlin (vocals, guitar, keyboards, background vocals); Peter Cetera (vocals, guitar, background vocals); Lee Loughnane (vocals, trumpet, percussion); Bobby Lamm (vocals, keyboards, background vocals); Robert Lamm (vocals, keyboards); Donny Osmond, Kenny Cetera, Richard Marx (vocals, background vocals); Chris Pinnick, Mark Goldenberg, Michael Landau, Paul Jackson, Jr. (guitar); David Foster (strings, keyboards, synthesizer); Jeremy Lubbock (strings); Walter Parazaider (woodwinds, wind); James Pankow (trombone, horns); Gary Grant, Greg Adams (horns); Marcus Ryle, Erich Bulling, John Van Tongeren (synthesizer); Daniel Seraphine (drums); Paulinho Da Costa (percussion). Audio Mixer: Humberto Gatica. Recording information: Sunset Sound, Hollywood, CA; The Lighthouse, North Hollywood, CA; The Record Plant, Los Angeles, CA. Photographers: James Goble; Harry Langdon. Unknown Contributor Role: Steve Kipner. Arrangers: Bobby Lamm; James Pankow; Jeremy Lubbock; Mark Goldenberg; Peter Cetera; David Foster. Chicago 16 finally gave Chicago a big hit after a four-year drought, thanks in large part to new producer David Foster, who steered the jazz-rock veterans toward a streamlined, crisply produced pop direction on that 1982 effort. Given that success, it's no surprise that the septet teamed with Foster again for its next album, 1984's Chicago 17 (apparently Roman numerals were left behind along with their progressive jazz-rock). It's also no surprise that Foster took an even greater control of 17, steering the group further down the adult contemporary road and pushing Peter Cetera toward the front of the group, while pushing the horns toward the back. Indeed, it's often possible to not notice the horns on 17; they either fade into the background or meld seamlessly with the synthesizers that are the primary instruments here, providing not just the fabric but foundation of nearly all the arrangements, as synth bass and drum machines replaced the rhythm section. This did not sit well with many longtime fans -- and it may have also caused some tension within the group, since Cetera left after this album -- but it did make for the biggest hit album in Chicago's history, going quadruple platinum and peaking at number four on the Billboard charts. A big reason for its success is the pair of hit ballads in "Hard Habit to Break" and "You're the Inspiration," two big and slick dramatic ballads that each peaked at number three on the charts and helped set the sound for adult contemporary pop for the rest of the decade; the likes of Michael Bolton and Richard Marx are unimaginable without these songs existing as a blueprint (in fact, Marx sang backup vocals on "We Can Stop the Hurtin'" on 17). Ballads were a big part of 17 -- in fact, these hits and album cuts like "Remember the Feeling" are among the first power ballads, ballads that were given arena rock flourishes and dramatic arrangements but never took the focus off the melody, so housewives and preteens alike could sing along with them. Power ballads later became the province of hair metal bands like Bon Jovi and Poison, but Foster's work with Chicago on 17 really helped set the stage for them, since he not only gave the ballads sweeping rock arrangements, but the harder, punchier tunes here play like ballads. Even when the band turns up the intensity here -- "Stay the Night" has a spare, rather ominou
録音 : ステレオ (Studio)