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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 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." 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
Remastered reissue of 1980 album, expanded with three bonus tracks including Robert Lamm's hard-to-find 'Doin' Business', along with the two previously unissued tracks 'Livin' It Up' & 'Soldier Of Fortune'. 13 tracks. Rhino. 2003.
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.
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).
Chicago XIV Music Review
Average Rating: (4 out of 5 stars)    List All 6 Reviews D best!
D best
Submitted by debyjgabas (Canada) 
Was This Review Helpful? Yes No
 Could have been better
I was disappointed with this Chicago effort. The opening track is good with the classic Chicago horns. The songs "Birthday Boy" and "Live it Up" didn't really go well and they clearly didn't make a good impression. I did like the songs such as the rocking "Hold On", the balladry of "Overnight Cafe" and the faster tempo of "Thunder and Lightning." The album is cleary a transitional one that linked the Donnie Dacus era (who left after Chicago 13) and the new era that followed in 1982 with Chicago 16.
Submitted by David (Middletown,NJ)
Was This Review Helpful? Yes No
Great album, no push from Columbia
This is an album of some great tracks, but Columbia had already decided to drop them from the label, at least that's the way the promoted it. Good solid songs with some heavyier, drier, gritty guitar. This is an album I always go back to. The bonus tracks are pretty cool and are mixed decently for unfinished/rehearsal-type material.
Submitted by a reviewer (Bear, DE)
Was This Review Helpful? Yes No Did The Record Label Drop Chicago?
Did the record label drop Chicago from the label? There is not a problem with the sound of Chicago. The songwriting is still excellent and the vocals are still very good. If I think that this is a very good album, then all Chicago fans should purchase this album as well. Please enjoy this CD.
Submitted by jejr9 (Irvine)
Was This Review Helpful? Yes No Disappointing for Chicago
Not a terrible Chicago album, the Peter Cetera selections are the best here. There doesn't seem to be much direction the songs are all over the map. Interestlingly enough their last album for Columbia after disappointing sales.
Submitted by a reviewer (Dover, NH USA)
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