Chicago's early-'80s return from the scrapheap did more than bring the group its biggest chart successes: it finally shattered the carefully maintained "faceless" image that had prevented any member from becoming an individual star. In the dawning age of video, the band needed a focal point, and bassist Peter Cetera – already the voice behind Chicago's soft rock smashes like "If You Leave Me Now," which had made significant inroads with the MOR audience – was the logical choice. So it wasn't a huge surprise that, following Chicago XVII, Cetera decided to use his new celebrity to strike out on his own.

Chicago’s unmistakable sound has made them one of the best-selling music groups of all time, with over 100 million records sold worldwide! Chicago’s massive popularity extends to Christmas music. The group have released two RIAA Gold-Certified Christmas albums - Chicago 25 and What’s It Gonna Be, Santa? Both albums were celebrated with a Gold Record presentation to the band at the Greek Theatre in Los Angeles on August 19th. Rhino / Warner Music release a new collection titled Chicago Greatest Christmas Hits, featuring their most popular Christmas songs.

The Chicago Transit Authority recorded this double-barreled follow-up to their eponymously titled 1969 debut effort. The contents of Chicago II (1970) underscore the solid foundation of complex jazz changes with heavy electric rock & roll that the band so brazenly forged on the first set. The septet also continued its ability to blend the seemingly divergent musical styles into some of the best and most effective pop music of the era. One thing that had changed was the band's name, which was shortened to simply Chicago to avoid any potential litigious situations from the city of Chicago's transportation department – which claimed the name as proprietary property.

This incredibly diverse collection was Chicago’s sixth studio album and their final studio-recorded double album to date. Cited for its jazz excursions, Chicago VII reached No. 1 in the US and included three stand-out hits including Searchin’ So Long, Wishing You Were Here and the first single penned by trumpeter Lee Loughnane Call on Me, which reached No. 6 in the US.

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…

Compiled from the most successful tracks on Australian charts and radio, all of the Australian fan favourites, and with newly created Australian outback themed artwork, it is a must for all Aussie fans.

The Chicago Transit Authority recorded this double-barreled follow-up to their eponymously titled 1969 debut effort. The contents of Chicago II (1970) underscore the solid foundation of complex jazz changes with heavy electric rock & roll that the band so brazenly forged on the first set. The septet also continued its ability to blend the seemingly divergent musical styles into some of the best and most effective pop music of the era. One thing that had changed was the band's name, which was shortened to simply Chicago to avoid any potential litigious situations from the city of Chicago's transportation department – which claimed the name as proprietary property. Musically, James Pankow (trombone) was about to further cross-pollinate the band's sound with the multifaceted six-song "Ballet for a Girl in Buchannon." The classically inspired suite also garnered the band two of its most beloved hits – the upbeat pop opener "Make Me Smile" as well as the achingly poignant "Color My World" – both of which remained at the center of the group's live sets.

The Heart of Chicago 1967–1998 Volume II is the sixth greatest hits album, and twenty-fourth album overall, by American rock band Chicago, released in 1998. As the sequel to 1997's The Heart of Chicago 1967–1997, this edition also features a mixture of songs from Chicago's entire thirty-year career to date. As with the first edition, The Heart of Chicago 1967-1998 Volume II is noted for containing two exclusive new songs. "All Roads Lead to You" and "Show Me a Sign" were both produced by Roy Bittan of Bruce Springsteen's E Street Band.