My leap into Chicago came with the band’s biggest seller, 1984’s Chicago 17. Unlike my brainy colleagues who contribute to this series, I’d rather listen to 17 and 1986’s Chicago 18 any day than listen to the band’s first six albums.
While Chicago 17 is time stamped by its programmed keyboards, synth drums and fake bass, there are many gems on the album which rise above the now-dated David Foster production. “We Can Stop the Hurtin’” is one such example.
A Robert Lamm, Bill Champlin and Deborah Neal collaboration, this song represents Chicago’s welcome return to socially conscious songs. Lamm provides his first lead vocal since 1980’s Chicago XIV, and he sounds reenergized by the subject matter. Surrounded by a strong Bill Champlin backing vocal arrangement, and assisted by guest vocalists Richard Marx and Donny Osmond, “We Can Stop the Hurtin’” soars.
Other key contributors to the track are rhythm guitarist Paul Jackson Jr., who brings a level of funk not often associated with the band; and David Foster, whose Moog bass tackles the bottom end. “We Can Stop the Hurtin’” also includes a horn chart which is at least part James Pankow’s, and the addition of Gary Grant and Greg Adams on trumpets to flesh out the Jerry Hey-like feel.
Stripped of the drum and bass programs and the army of synthesizers, Chicago’s “We Can Stop the Hurtin’” would still be a great song. But as it is, this version stands the test of time.
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