TWENTY 1

Probably due to the comparative failure in commercial terms of "Chicago 19", the record label (Full Moon/Reprise) released another Greatest Hits package, this time covering the post Columbia (CBS) period from 1982 to 1989. That package would be deemed to be "Chicago 20", hence the jump in the numbers of the studio albums from 19 to 21 (or "Twenty 1").

Since the release of "19", founding drummer Danny Seraphine had been fired by the band due to his "lack of commitment". This being the third of the founding members to leave the line up, it was becoming ever more evident that the links between the band which recorded the early prog influenced albums and that which existed now were becoming ever more tenuous. All the new boys had joined after the band had become an AOR singles chart act, and clearly had enduring expectations in that direction. That is not to say the remaining founders were intent on a more noble path, commercial success appeared to be the over- riding objective for all involved.

Session drummer Tris Imboden was added to the line up to replace Seraphine although another session drummer, John Keane, actually played drums on most of the tracks on this album. Ron Nevison, who co-produced "19", was retained as producer. The band's enthusiasm for recording was by this time waning rapidly, and a significant part of the final product is actually performed by session musicians. In a further complication, Nevison lost control of the product when Humberto Gatica was asked to do the final mixing. To this day, Nevison maintains that it was this interference which spoilt an otherwise decent album.

As with "19", the band's song writing is supplemented by commissioned works by noted songwriters, with Dianne Warren for example providing two of the songs here. The opener, "Explain it to my heart" is the first of her compositions. This power ballad is pure REO Speedwagon/Foreigner etc. mainstream pop rock fodder. This time though, it is not even among one of Warren's best, the synth rhythms and unfamiliar vocals merely emphasising the anonymity. To add insult to injury, the parts which sound like horns are actually synth blasts!

Thereafter it is the by now familiar mix of pop rock, ballads and power pop throughout. Track lengths are ruthlessly restricted to under 5 minutes, with no opportunity (or apparently appetite) for longer instrumentals, let alone improvisation. The first time the horns make any notable appearance at all is on track six, Robert Lamm's "One from the heart". The melody has a passing similarity to the band's classic "Does anybody really know what time it is" but the song is spoilt by a rather trite chorus. Diane Warren's other song on the album is "Chasin' the wind", another soppy ballad with woe-is-me, spurned lover lyrics.

"God save the queen" is neither the UK national anthem or the Sex Pistols song, but a James Pankow, Jason Scheff composition. Apart from the presence of the brass section to brighten things, it really is a mess of a song. And that is about it, the songs I have mentioned at least warrant a comment of some sort, the rest do not even deserve that much.

While "Chicago 19" had a similar style and structure to "Twenty 1", the songs there were by and large rather enjoyable. Here though, it is necessary to keep checking the cover to be reminded of the band performing. This really is the most anonymous Chicago album ever. It is bland, it is totally predictable, and it is without doubt the low point of the band's entire career.

"Twenty 1" represents another milestone in the band's history. So poorly was it received that the band finally realised that the fickle fans who sought their chart focused material came and went with the tide, while the real fans who had followed them since their early days had become totally disillusioned with their current path. As a result, the band decided to focus on touring, with studio recordings being more or less abandoned (but see "Stone of Sisyphus") until 2006.

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