Customer Reviews

Chicago 19

5 star:		(15)
4 star:		(5)
3 star:		(4)
2 star:		(2)
1 star:		(5)

 

 

Being a fan of Chicago from the days of "Chicago Transit Authority," I must review this CD as though it were from a different group because the style of early Chicago is different from the style of this Chicago. Early Chicago was an innovative group that experimented with a variety of styles and was considered somewhat progressive. This Chicago is a high quality mellow pop music group as this 1988 release shows.

This music is so consistent in terms of style that an individual song discussion is relatively valueless. Thus, if you are familiar with the hits from this album know that you are getting an entire album of similar music.

The album reached #43 in the summer of 1988. Singles were released from the album beginning in mid 1988 until mid 1989. The first single released was "I Don't Wanna Live without Your Love" backed by "I Stand Up," which reach #3 in June 1988. The second single was "Look Away" backed by "Come in from the Night," which reached #1 in September 1988. The third single was "You're not Alone" backed by "It's Alright," which reach #10 in January 1989. The final single released was "We Can't Last Forever" backed by "One More Day," which reached #55. "What Kind of Man Would I Be" was remixed and released after the release of "Chicago's Greatest Hits 1982-1989," reaching #5 in December 1989. Thus, there were a total of seven songs from this album that were released on a single, either on the A-side or the B-side.

I find this album's consistency surprising. While there are variations in tempo and lyrics in each song, the style is constant throughout. I also think it is interesting that Chicago did not succumb to the "big hair band" style of the 80s. There are tinges of that style, but the album remains focused on ballads.

All the songs on this album are good, and a few are very good or excellent. If you like middle-of-the-road rock, and mellow ballads, this album would be an excellent addition to your collection. I would recommend this music to be played at work, or around the house. I would not recommend this music for long drives, as it might put you to sleep, but in rush hour it might calm your nerves.

Groups should evolve as they see fit; Chicago did exactly that. Chicago has had mellow ballads from their first album. While Peter Cetera was a frequent contributor of mellow ballads, others in the group contributed this style nearly as often. The principal difference between the Chicago represented in this album and early Chicago is that this music is focused, and Chicago began with eclectic styles. I believe this album is worthy of being in a collection of Chicago's music, as well as in the collection of those who like pop ballads.

I love the old Chicago. The original stuff was some of the most innovative music in popular music history. However, I also love the '80s Chicago sound; and this album is as great as any of them. It's hard to believe that it would be their last big album of all original material.

Yes, this album had 4 top 10 hits--all ballads. All are great songs. "I Don't Want To Live Without Your Love" was the fantastic lead single off the album. "Look Away" is a heart-rending, fantastic ballad that went all the way to number 1. "You're Not Alone" is very underrated--another heartfelt song. All of these songs beautifully showcase Bill Champlain's excellent vocals. "What Kind Of Man Would I Be" was actually released in remixed form off of the Greatest Hits album that came out a year after this album did--their last big hit. "We Can Last Forever" is a gorgeous power ballad that was actually released as the fourth single off the album--but it only peaked at number 55. Still fantastic vocals by Jason Scheff on this one.

Those are the hits--and they for the most part display Chicago's tendency towards ballads in the '80s. However, there are other noteworthy, fantastic tracks on this album that rock a little harder. The highlight is "Come In From The Night", which showcases both the horns and electric guitar and doesn't have a typical "love song" message. "Heart In Pieces" kicks off the album with a bit of uptempo heartbreak, and "I Stand Up" is also a bit uptempo. "Runaround" and "Victorious" are also fine tracks.

There truly isn't a bad song on this album. The songs shine with melody and feeling from beginning to end. If you liked any of Chicago's '80s material, then you should definitely like this one. For me, a must-have.

It's hard to put a finger on this one. Is it good, or bland? Do the singles all sound alike, or do those sweet little hooks in each make them stand on their own? How much horns do we really need?

OK - I have to admit two things - first, that I was really bothered by how monotonous the singles sounded on this. Second - heck, these are, after all, quality hit singles. Ballads? I won't take part in that debate.

Chicago at this time was a group of 7 guys, 5 of whom were originals. They were still kinda in the Foster era - and this album spawned some monstrous singles. It so happens that in this album, Jason and Bill go to the front of the pack with these singles. The remainder of the group "stand up" on the deep cuts. I do believe I hear Chicago in there - but then again, Jason and Bill are in the band too. They get to do their kind of music. And people loved it!

Still, it feels like they are still coasting from the Foster era. But there is the promise of a band that is still coming together. Their best lineup ever is just around the corner: once Howland and Imboden join.

Yes - buy this album. Lots of ear candy.

Well, that's what I call it anyways.

I became a Chicago fan with "17". It was Bill Champlin's voice that grabbed me. I went back and bought "16" and later, when it came out, "18". I played all three of these tapes endlessly. I actualy played them until they started sounding dull. Too much synth.

When "I Don't Wanna Live Without Your Love" came out as a single I bought it and was really elated. Bill Champlin singing. Loud and, possibly, real drums and a harder guitar sound. The flip side of it was "I Stand Up" with Robert Lamm singing with some gusto. When the album was released I got it and just loved it.

I don't really think of it as a Chicago album. Just a great late 80's guitar pop album. Yes, full of power ballads and guitar hooks and just some great songs.

1. "Heart In Pieces" Great kick off.

2. "I Don't Wanna Live Without Your Love" (a #3 hit on the US charts.)

3. "I Stand Up" There they are (The horns.)

4. "We Can last Forever" last single released, remixed, made it to #55. "One More Day" from Chicago 18 was the flip side.

5. "Come In From The Night" flip side of "Look Away". Great track.

6. "Look Away" #1 hit for a week. Remixed for release as a single.

7. "What Kind Of Man Would I Be?" remixed and released as a single off of the following year's Chicago's Greatest Hits 82-89. A #5 hit on the US charts.

8. "Runaround" my favorite track. Sounds like it was recorded live.

9. "You're Not Alone" 3rd single released. Remixed. A #10 hit. Curiously, the album version appears on the "Heart of Chicago" compilation of hits. Meaning that if you have the cassette single or 45 of the remix then you have a rarity. The flip side is "It's Alright" from Chicago 18.

10. "Victorious" A fine ending to the album.

A lot of hard core "Chicago Fans" totally hate this album. And yes, it does go furter from the band's roots even more than the David Foster albums (16-18) did. I however just love it for the great music.

Chicago's nineteenth album is one of those that fans either seem to love or hate - and when I say hate, I mean with a purple passion. For older fans, "Chicago 19" was definitely not the Chicago that they remember; for younger fans, especially those in high school, this was the only Chicago they knew. My review is a bit wordy, but as one who has had almost twenty years to evaluate this album, I'm going take an objective approach and try to present it for what it was and is.

When "Chicago 19" was released in 1988, the album took the group in an entirely new direction - whether the group wanted to or not. During the 1980's, the music industry was dictated by the producer and the record label. The overall goal - to produce hits. With Chicago, this trend began in 1982 with "Chicago 16." Chicago had been in a slump since Terry Kath's death and Columbia Records dropped them in 1981 due to declining record sales from their previous albums. David Foster was brought in to revamp the group. Foster had the group collaborate with outside songwriters and brought in studio musicians to augment the groups sound. The outcome was stunning! "Hard to Say I'm Sorry" went all the way to the top of the charts, making it the second #1 single for Chicago. Two years later, Foster went on to produce their most successful album, "Chicago 17," as well as "Chicago 18" in 1986.

For "Chicago 19," two new producers were chosen: Chas Sandford and Ron Nevison. Sandford was a songwriter who had previously worked with Stevie Nicks and John Waite; Nevison a well-established producer who's successes included artists like Survivor, Ozzy Osborne, Bad Company, Heart, and Jefferson Airplane, just to name a few. What came out of 19 were slick, formula-driven pop/rock songs that were designed to produce hits - and produce hits it did. "Chicago 19" became one of Chicago's top-selling albums, earning their third #1 hit with "Look Away." The other hits were "I Don't Wanna Live Without Your Love" which went #3, "You're Not Alone," which peaked at #10, and "We Can Last Forever." When one looks at the credits that those two producers have, it's no wonder Chicago sounded like they did. The brass don't have the prominence they once did and synths and electro-drums dominate the entire album. As a whole, the tunes aren't bad - they're just not the Chicago of the past.

The production wasn't the only thing that changed Chicago's sound - Chicago fell victim to the LA song-writer syndrome of the late 1980's. Remember that with "Chicago 16" and "17," almost every song on both of those albums was written or co-written by a band member, thus still retaining that "Chicago" sound. With "19," that was a different story. Out of the ten songs on the album, five were co-written by band members. Who was their biggest hit written by - none other than Diane Warren, who also wrote hits for Heart, Michael Bolton, Bad English - all of which are excellent songwriters themselves. Their second biggest hit off the album was also written by Diane Warren. With producers telling them what songs to play and how to play them, it's no wonder their sound changed. Robert Lamm confirmed this in his interview on Inside Musicast.

Let's change gears a bit and look at the "ballad" issue. Chicago truly got type-cast as a ballad band with the advent of "If You Leave Me Now." Written by Peter Cetera, this was the band's first #1 and until his departure, Cetera grew to become the face and main hit-writer of the group. He had a distinctive voice and a knack for catchy, easy-to-sing melodies. His next big hit was "Hard To Say I'm Sorry," followed by "Love Me Tomorrow," and 3/4 hits off of "Chicago 17." Warner, their new label, wanted hits so ballads were what they demanded.

By the end of 1991, with the release and financial failure of "Twenty 1," Chicago took the matter into their own hands. The group hired Peter Wolf, who gave them free creative reign and the result was outstanding - I've heard it and it is phenomenal! "Stone of Sisyphus" was put together in 1993 and due to be released the following year. The Warner execs heard it and deemed it "unreleasable," perhaps due to some of the attacks made on the record company in songs like "Plaid" and the title track. According to Robert Lamm, off of the same podcast that I mentioned above, recording rights have been obtained and Rhino records will be releasing the album either in late 2007 or early 2008.

I hope I haven't bored you all with a lengthy review and have helped you. In all fairness, I have given it three stars - it's not the group's best effort, but it's not entirely their fault either and it certainly is not their worst album - I would say "Chicago 13" takes the cake there. If you're a die-hard Chicago fan, it's got to be part of your collection, just like "13." For the rest of you, happy listening.

I have been a lifelong follower of Chicago since I was a kid, buying every album as it came out and waiting with breathless anticipation as each new tune was played on the old stereo. I've watched the music evolve and always found something to like about the music of every era. Cetera is unparalleled as a vocalist, and one of the great things about the band early on was the fact that the core group stayed basically the same, and that they all shared composer credits. I have to take issue, though, with other reviewers who have shockingly labeled this effort as "a masterpiece of it's time". You have to be kidding! If you are interested in Chicago and you want a masterpiece, give a listen to Chicago V, VII, or II. There are plenty of great Chicago albums but this is not one of them. There really isn't anything memorable on here and, for me, it was the final straw in terms of having to purchase every Chicago album, listening endlessly to them and knowing every track on every album side by heart like I did in the seventies.They've done plenty of great stuff since then, don't get me wrong, and I'm not knocking Champlin of Scheff - they are talented musicians - but this just isn't the band I've loved for almost 30 years. It didn't suddenly fall apart with this effort, its been coming on for a little while. Years ago, every song on an album was great. In recent years its been hunt and peck.There are some beautiful songs on Chicago 13 through 18 but the overall strength of each album/cd is not there. Music changes, and these guys have hung in there....I still love them and love their sound.Its music that will always be a part of me. But to say that this is a masterpiece is an insult to their previous recordings.Its been a while since this album came out, and since I listened to it, but this seemed like an appropriate place to burst everyone's bubble.By the way, there's no Peter Cetera on here, as someone erroneously mentioned....he's gone long gone. All of his solo albums are well worth a listen though, and I'd recommend all of those before Chcago 19. Peter sounds more like Chicago on his own than the 4 guys who are left do.I still love the horns though....

This may be be the most misunderstood and maligned Chicago album ever released. I was in radio at the time of it's release. In fact I was at a rock station that "couldn't" play 19 because Chicago had been an AC band for over a decade.

One listen to the Ron Nevison production and you'll be hooked on this brand of Chicago. It produced the fastest climbing Chicago #1 song in the band's history-that would be the Dianne Warren song "Look Away" featuring Bill Champlin's pleading delivery. The combination seemed wierd at the time-but Nevison (Heart's big 80's albums) and Chicago made great music together. Chicago purests likely jumped off of 19 scrambling to find their Chicago IX LP's.

But there's no denying Jason Scheff coming into his own on "What Kind Of Man Would I Be" and "We Can Last Forever". Champlin also hits solo for the first time on "Look Away", "I Don't Wanna Live Without Your Love" and the much forgotten about "You're Not Alone". Also of note is the Robert Lamm composition "Victorious" which paves new ground for production experimentation for a band that's done it all. This whole CD plays well from start to finish. It is lighter on the horns than most Chicago CD's, but they're still in there! This CD is a great piece of musical history-a timepiece of what was hot in 1989. 19 shows that Chicago could change and innovate with the times.

After Peter Cetera left the group after 17, Chicago release 18 with their new bassist/lead singer Jason Scheff. Although 18 wasn't bad, it was very timid. With 19, Chicago decided to lay all the cards on the table, and in my opinion, found Gold. 19 definitely has an edge that Chicago had been missing for several albums, thanks in part to Dawayne Bailey's talents with his guitar work. Yes, it has it's share of ballads, including the song of the year for 1989, "Look Away". But it also has some great ... songs, like "Come In From the Night".

You won't be disappointed in this album.

I LOVE Chicago, when they're good they're great. When they're bad they can't get much worse. Easily my least favorite Chicago CD. I wouldn't give it any stars, but it is deserving of the one star for the 2 or 3 redeeming tracks on the CD ("Come In From the Night," "You're Not Alone," and an adequate remake of Canadian vocalist, Tim Feehan's, "Heart In Pieces"). Save your money, or spend it on something better like one of Bill Champlin's or Jason Scheff's solo CD(s)!

Chicago 19 is one of the band's albums that I own. I love their 80's sound. A lot of people say that they got soft, but I disagree. Some of their ballads get too mushy, but you still can't resist listening to them. The hits from this album (What Kind of Man Would I Be?, I Don't Want To Live Without Your Love, We Can Last Forever, You're Not Alone, and Look Away) are good, but the band could've picked other songs to be hits. 'I Stand Up', 'Come In From The Night', 'Heart In Pieces', and even 'Runaround' could have been great as hits. They're all fast paced and include a good amount of horns. But like another band once said: you can't always get what you want. Chicago 19 is still a good attempt at obtaining Chicago's original sound in a new decade.