Chicago XIV (Expanded)

This one was yet another commercial disappointment when it was first released. The “songwriting magic” seemed to be waning or perhaps the ideas were not fleshed out as well as they could have been. Cetera did the lion’s share of the writing as his material offered the best opportunity at getting into the charts. However, song selection may have also been an issue for the band. (Although the real truth may have been shifting musical tastes taking place in the USA and around the world). However, that would soon change when they got into the studio with David Foster as the 80’s progressed. Chicago XIV does have a few gems sprinkled throughout. Let me first say, Chris Pinnick does not get enough credit for his time playing with Chicago. He seems to have all but been buried in the annuls of Chicago history. I love his playing throughout XIV. The solos on opener “Manipulation” are frenetic and surging. “Overnight Café” is another track I enjoy. Pinnick’s playing on “Overnight Café” really push the track especially at its midpoint around the 2-minute mark. Check it out…. “Soldier of fortune” (Bonus track on later reissue) and Manipulation are two of the most underrated Chicago tracks as they progressed into the 1980’s. In particular, “Soldier of fortune” stands out to these ears with Pinnick’s picking embellishments throughout the song. “Doin Business” (again, yet another bonus track included on the reissue) with its pulsating Peter Cetera bass line and Pinnik’s fluid guitar runs should have been included in the original release in place of some of the other meandering tracks that were included. One has to question why some of the bonus tracks were not included in the original release in place of some of the questionable material they did offer. Overall, a somewhat spotty release but worthy of listening to again after all these years to appreciate again what this incarnation was capable of.

Definitely not great but better than ok, but barely...damn it Kath why were so stupid with a firearm???? nice cover though

This was Chicago's final original record for Columbia Records. As they have stated in interviews, the band gave producer Tom Dowd more than enough challenges in that they could not agree on a central theme to this album and that resulted in it being uneven. Things start off well with "Manipulation" but things start to drag on tracks 2 through 5 with too many ballads in a row. Each one drags this album down further. "Song For You" has a very unfinished feel to it with the first verse and the second verse being the same, though the tune itself is very good. Peter Cetera has said that he would like to remake this song someday. It certainly deserves that. "Birthday Boy" is very mawkish with it's cheesy opening synthesizer. Danny Seraphine is capable of much better material than this mess. Fortunately the band redeems itself on the next five tracks. "Hold On" rocks a little though it is questionable if Peter Cetera is the right lead vocalist for this number. "Overnight Cafe" is a nice little reggae-like change of pace. "Thunder And Lightning" is a decent song that deserved better chart action. "I'd Rather Be Rich" is the kind of work you wish Chicago would do more of. It segues nicely into "The American Dream", an anthem about government apathy and indifference. Bonus track 11 is similar to "Manipulation" and was originally released in 1991 on the "Group Portrait" Legacy Boxed Set. Throw in "Soldier Of Fortune" and "Live It Up",and with a little more work, these 3 tracks would have made nice substitutes for "Birthday Boy","Upon Arival", and "Where Did The Lovin' Go" on the original Columbia release. As a result of the lackluster sales of this album as well as its predecessor, Columbia Records bought Chicago out of their current record contract and dropped them. Chicago wisely took that money and bankrolled their next orignal album, Chicago 16, and with David Foster producing, created an album worthy of merit.

It was said that Danny Seraphine wanted David Foster to produce this album. Darn. It would have been so much better if he had. Their comback would have happened a lot sooner. But Thunder and Lighting, Manipulation, and Overnight Cafe are good songs. The rest, meh.

First, let me start off by saying that the reviewer referring to this album as bipolar is insensitive. I have a friend or two that are bipolar, and it is not fair to use this term. I'm sure no offense was intended. Ok, now to the music: This is a good collection of songs. Granted, not as popular as others, but it includes some great songs. Song For You was also included in the greatest hits collection called If You Leave Me Now. When you look at the credits for this remastered version of the song elsewhere, it says this remaster includes the single edit. Two of the bonus songs first appeared on the box set Group Portrait.

Boy, Chicago XIV is a tough nut to crack. It's got some very good stuff, and some very bad stuff to go with it. It has a good moment, then it has a horrible moment to balance it out or something. That's why I tend to refer to XIV as "The Bipolar Album". The album starts off on a very good note with the Robert Lamm rocker Manipulation, a song about strained relationships with Columbia Records, disguised as a song about a relationship. The same goes for the jazzy, Earth Wind & Fire-esque Thunder And Lightning. Unfortunately, as aforementioned, the good moment of Manipulation is soiled upon by three consecutive, smarmy, schmaltzy, sappy, interchangable Peter Cetera ballads beginning with Upon Arrival, and ending with Where Did The Lovin' Go. Danny Seraphine turns it around a tad with the disturbing Birthday Boy. It's a welcome change from the ballads, but it's so creepy, hammy and stupid. The second side is considerably better, kicking off with the Cetera rocker, Hold On. It's a bit monotonous, and the lyrics are stupid, but like Birthday Boy, it's better than the ballads. Peter Cetera writes one of the best songs on the album with the behind-the-beat, reggae Overnight Café. Robert Lamm makes a mediocre sociopolitical statement with I'd Rather Be Rich, and that mediocrity finishes the album with James Pankow's The American Dream. Most of the material on XIV is very listenable, but this is the worst writing Chicago has ever done, bar none. At some point, you have to wonder "this is actually considered music?" Columbia Records evidently didn't think so. This would be Chicago's final studio album before CBS dropped them. They would release one simple greatest hits compilation just to shave off the multimillion dollar deal Chicago had signed with the label a year or so back (ouch), and Chicago was without a record company. There would be hope, however, in the form of David Foster and Warner Brothers Records. 4.5/10, 2.5/5

This controversial album was a turning point for the band, and it also marked the end of another chapter of awesome tunes from this hit machine. Most fans know that Chicago 16 in '82 starts another chapter, so Chicago XIV from 1980 holds a special place in the hearts of many who have followed the guys this amazing ride. Chicago XIV comes eleven years after the debut album. The late 70s was a tough period for the band for many reasons, as "Hot Streets" and "Chicago 13" did ok, but not as well as all Chicago records from approx 1970-77. It was back to the Roman Numerals we love for this release, and after this they went to solid numbers for quite some time until around XXV with the Christmas Album in '98 and XXVI (Live) in '99. Over half of the songs are great...which usually shows that you have a winner. The Good: "Hold On" should have been released as a single, and I think it would have become a huge hit. This is by far the best song on the album. 'Overnight Cafe,' 'Thunder and Lightning,' 'Upon Arrival,' 'Where did the Lovin' Go,' and 'The American Dream' follow as the best songs. Of the bonus tracks, the two previously unissued songs are great (Live it Up, Soldier of Fortune.) The bad: 'Song for You', 'Birthday Boy', 'I'd Rather be Rich', and the bonus track 'Doin' Business.' SFY and BB are really bad but the rest of this record makes up for it. 'Manipulation' is adequate but should not be considered their #1 song from this album. Stories swirl about how Columbia mistreated this record, how it was barely visible on the store shelves back in 1980, and about how the band wasn't promoted properly. It only reached #71 on the famous Billboard list, a far cry from what Chicago was used to. Chris Pinnick, who took over for the departed Donnie Dacus, was an official member of Chicago from 1980-84. It's a little known fact that he also played for Peter Cetera in 1981 on Peter's solo album! Give this album a try if you haven't already. There are some really good songs on here!

For those Chicago fans that do not already own this music, I have to say it is - as most professional reviewers agree - not Chicago's best work. But, for those of us who are also Peter Cetera fans, this music makes good sense. His songs here are the stronger pieces. The other reason to buy this is to be 'complete' in a collection of Chicago music. Other than that - let it pass - you will not find any hit singles in this collection...