Classic Rock Bottom

This week is the third in a series! You know, that series that you're really enjoying and wishing that I would do it more. That series I'm speaking of is the series on albums released by artists before they hit it big. You know, you're favorite series.

But you might be saying to yourself, "Hey, wasn't Chicago pretty big before this album?" Well, sure. But then they kinda went into a slight rut and then hit it big again. Besides, as you well know, my series and my ground rules.

XIV was released in 1980 and is their first studio album that did not receive any certification plus was their lowest charting album, only reaching #71 on the US charts. Their previous "disco" album (figure out the album title yourself) reached #21 on the charts and was certified gold, but that album was the lowest charting and lowest certified album until this one. 

Their next studio album (again, figure out the album title yourself but it might be a little bit tricky) reached #9 on the charts and was certified 2X platinum and then they really hit it it big after that with those albums Scott claims that you'll lose you man-card if you give them a listen. 

A couple singles were released but they might not be any songs you're familiar with. However, I think this is actually a pretty good album with the lead-off track and my red track as ones that really grab me.

What does allmusic.com think?

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 Chicago's strongest respective songwriters, Cetera in particular was emerging with a definitive and soulful delivery especially notable on "Song for You" and "Overnight Café," 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."

XIV

1. Manipulation
2. Upon Arrival
3. Song For You
4. Where Did The Lovin' Go
5. Birthday Boy
6. Hold On
7. Overnight Cafe
8. Thunder And Lightning
9. I'd Rather Be Rich
10. The American Dream

Availability: The remastered version with three extra tracks (not included here) appears to be OOP, but can be had for around $22 or you can get the box set that includes this along with a few other Chicago albums, all remastered and in a nice box which makes sense since this is a box set.

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First 2 songs are pretty decent.  That guitar solo in the first track is smokin'!  

But Song For You is pretty bad.  Extremely cheesy.  So bad I couldn't listen to it all.

Goodness, the cheesiness and ballads continue...often.

Finally, Hold On picks up the pace.  It feels like the band is trying to toughen up it's sound on this song, but it falls way flat for me.  The guitar riff is pretty good, but Cetera or whoever that is just does not sound right trying to sound heavier or whatever.  The song is just flat.

Overnight Cafe isn't bad.  It's different, but not bad.

Thunder And Lightening has some cool rhythm guitar and horns at the beginning.  And a really nice R&B feel.  I like this track.

Unfortunately, any momentum built by that song just disappears as the remaining tracks just peter out.  

I've been wanting to add to my almost non-existent Chicago collection but still haven't gotten around to it.   I think when I do, it will mostly be the early stuff.

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