Chicago XIV [Bonus Tracks] [Remaster]

Performer: Chicago
Engineer: Michael Carnevale
Producer: Tom Dowd
Distributor: WEA (Distributor)

Notes: Chicago: Lee Loughnane (vocals, trumpet); Robert Lamm (vocals, keyboards); Peter Cetera (vocals, bass); Walter Parazaider (woodwinds); James Pankow (trombone); Danny Seraphine (drums). Additional personnel: Chris Pinnick, Mark Goldberg (guitar); David "Hawk" Wolinski (keyboards); Ian Underwood (programming). Recorded at The Record Plant, Los Angeles, California. Originally released as Columbia (36517). Includes liner notes by Craig Tomashoff. Personnel: Lee Loughnane (vocals, trumpet); Robert Lamm (vocals, keyboards); Peter Cetera (vocals); Chris Pinnick, Mark Goldenberg (guitar); Walter Parazaider (woodwinds); James Pankow (trombone); David "Hawk" Wolinski (keyboards); Daniel Seraphine (drums); Ian Underwood (programming). Audio Remasterer: David Donnelly. Recording information: The Record Plant, Los Angeles, CA. Despite containing a few hidden gems, Chicago's 14th long player went primarily unnoticed when first released in the summer of 1980. The concurrently popular music styles of new wave and punk, as well as the last remnants of disco, had all but abandoned the septet's dependably horn-driven pop and dramatic balladry. In retrospect, it seems that the band had not yet recovered from the tragic loss of Terry Kath (guitar) less than two years earlier. Although his role had decreased somewhat by the mid-'70s, Kath continued to provide Chicago with both a stabilizing spirit as well as a unifying sound. Former Stephen Stills sideman Donnie Dacus (guitar) helped out on the definitely unlucky release Chicago 13 (1979). However, he had already jumped ship before the band began working on Chicago XIV (1980) and Chris Pinnick (guitar) soon became the combo's third guitarist in as many years and after a decade with the same primary personnel. On top of that and despite ten years of significant successes, Chicago was no longer considered a top priority by its record label. This significant lack of direction resulted in one of the group's more unfocused entries. The vast majority of the album's material came from either the Peter Cetera (bass/vocals) or Robert Lamm (keyboards/vocals) camps. While the pair had long been considered as Chicago's strongest respective songwriters, Cetera in particular was emerging with a definitive and soulful delivery especially notable on "Song for You" and "Overnight Caf�," though he bails on the half-baked "Hold On." Conversely, Lamm's "Manipulation" is a strong and aggressive opener, yet any initial momentum quickly dissipates with lesser sides such as "Upon Arrival" or the tongue-in-cheek "I'd Rather Be Rich." A decidedly more successful outing from Cetera, Lamm, and Danny Seraphine (drums) is "Thunder and Lightning" -- which is highlighted by some jazzy chord changes reminiscent of Steely Dan's "Fez" or "Josie." The 2003 CD reissue includes three additional bonus selections -- the funky "Live It Up" from James Pankow (trombone), as well as a pair of additional Lamm rockers, "Soldier of Fortune" and "Doin' Business" -- the latter of which was previously available on the Group Portrait (1991) box set. After cutting ties with Columbia Records -- with whom the band had been associated for over a decade -- Chicago took a two-year hiatus before re-emerging with Chicago 16 (1982), which would garner the band several chart-topping singles as well as its first Top Ten album in over half a decade. ~ Lindsay Planer This 2003 CD reissue of Chicago XIV includes three bonus selections -- the funky "Live It Up" from James Pankow (trombone) as well as a pair of Robert Lamm rockers, "Soldier of Fortune" and "Doin' Business" -- the latter of which was previously only available as a bonus track on the Group Portrait (1991) box set. Chicago's 14th long-player went primarily unnoticed when first released in the summer of 1980. After replacing the late Terry Kath (guitar) with former Stephen Stills sideman Donnie Dacus (guitar), the band attempted to update and stabilize its sound. His contributions were short-lived, however, and prior to working on Chicago XIV, Chris Pinnick was hired and soon became the combo's third lead guitarist in as many years. In fact, it seems as if they had yet to completely recover from the loss of Kath. When coupled with the poor sales of Chicago's previous albums as well as the group's complete de-prioritization from its record label, the significant lack of focus resulted in a disjointed effort. Tellingly, the vast majority of material came from either the Peter Cetera (bass/vocals) or Lamm (keyboards/vocals) camps. While the pair had long been considered Chicago's strongest respective songwriters, Cetera in particular was emerging with a definitive and soulful delivery, especially notable on "Song for You" and "Overnight Caf�." However, he bails on the half-baked "Hold On." Conversely, Lamm's "Manipulation" is a strong and aggressive opener, yet any initial momentum quickly dissipates with lesser sides such as "Upon Arrival" or the tongue-in-cheek "I'd Rather Be Rich." A decidedly more successful outing from Cetera, Lamm, and Danny Seraphine (drums) is "Thunder and Lightning" -- highlighted by some jazzy chord changes. After the group's dismissal from Columbia Records -- with whom it had been associated for over a decade -- Chicago took a two-year hiatus. They reemerged with Chicago 16 (1982), ultimately garnering several chart-topping singles as well as their first Top Ten album in nearly six years. ~ Lindsay Planer

Chicago was the longest-running and most commercially successful of the hordes of jazz-rock bands with horn sections that sprang up in the late-1960s wake of Blood, Sweat & Tears. After myriad personnel changes (including the death of founding guitarist Terry Kath due to a self-inflicted gunshot wound), Chicago eventually mutated into a more conventional pop group that was able to score hit after hit well into the '80s, usually with romantic ballads. They remain among the best-selling American bands of all time. In the mid 1990s they briefly returned to their roots with an album of big band-era standards given the Chicago treatment.

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