“Chicago Albums in Order” is a fascinating exploration of the discography of one of America’s most enduring and successful rock bands. Chicago, initially known as the Chicago Transit Authority, emerged from the vibrant music scene of Chicago in 1967. Renowned for their distinctive blend of rock and roll with horns, their sound incorporates elements of classical music, jazz, R&B, and pop.
The original lineup, featuring Peter Cetera, Terry Kath, Robert Lamm, Lee Loughnane, James Pankow, Walter Parazaider, and Danny Seraphine, set the stage for a legacy that has spanned decades. Despite numerous changes in membership, the band has consistently delivered chart-topping hits and critically acclaimed albums. Their unique approach to album naming, using Roman numerals, and their iconic logo have become trademarks in the music industry.
Over the years, Chicago has sold over 100 million records worldwide, earning multiple gold, platinum, and multi-platinum certifications. They have also received numerous accolades, including Grammy Awards and induction into the Rock and Roll Hall of Fame. “Chicago Albums in Order” provides a comprehensive look at the evolution of their music, offering insights into the band’s creative journey and enduring appeal.
All Chicago Albums Available on: Apple Music
Also See: Boston Albums in Order
The American band Chicago boasts a prolific recording career. They’ve released a whopping thirty-six albums, encompassing 26 studio recordings, 7 live performances, and 11 compilation albums. This impressive number reflects their enduring popularity and vast musical output over the decades.
Here is the list of Chicago Album in Order of Release Date
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Chicago Transit Authority is the debut studio album by the American rock band Chicago, released in April 1969. Initially known as Chicago Transit Authority, this double album became a sleeper hit, peaking at number 17 on the Billboard 200 by 1971. It featured successful singles like “Does Anybody Really Know What Time It Is?”, “Questions 67 and 68”, and “Beginnings”. The album remained on the Billboard chart for 171 weeks, surpassing the previous record of 155 weeks for a rock album’s longevity. Certified double platinum by the RIAA, it earned the band a Grammy nomination for Best New Artist of 1969 and was inducted into the Grammy Hall of Fame in 2014. 4o
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Chicago’s second studio album, “Chicago” (1970), marked their first release under the shortened name, following a legal dispute with the Chicago Transit Authority. Featuring the iconic cursive Chicago logo, this double album continued the band’s innovative blend of rock and jazz. Released in January 1970 by Columbia Records, the album achieved commercial success, reaching No. 4 on the U.S. charts and No. 6 in the UK. It earned a gold certification from the RIAA in April 1970 and went platinum in 1991. Producing three Billboard Hot 100 top ten singles, the album garnered three Grammy nominations and was lauded by Cash Box and Playboy readers as the best album of 1970.
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Chicago’s third studio album, “Chicago III,” was released on January 11, 1971, by Columbia Records and produced by James William Guercio. This ambitious project marked the band’s third consecutive double album in under two years. Like its predecessor, “Chicago II,” the album features a blend of multi-part suites and traditional songs, showcasing the band’s versatility. They explored various genres, incorporating folk and country in tracks like “What Else Can I Say” and “Flight 602,” free improvisation in “Free Country,” and musique concrète in “Progress?” while maintaining their signature jazz-rock style. The album peaked at number two in the US, received positive reviews, and included two top 40 singles, “Free” and “Lowdown.” Following its release, Chicago became the first rock band to perform at Carnegie Hall, with recordings from these performances featured in their subsequent album, “Chicago at Carnegie Hall.”
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Released on July 10, 1972, Chicago V is the fourth studio album by the American rock band Chicago and marks their first single album following a string of double albums and a live box set. Returning to a more concise, straightforward style reminiscent of their debut, Chicago Transit Authority, this album features prolific songwriting from Robert Lamm, who penned seven of the nine tracks. Notable songs include “Saturday in the Park,” which reached No. 3 in the US, and “Dialogue (Part I & II).” Chicago V was both critically acclaimed and commercially successful, becoming the band’s first No. 1 album in the US, and was later remastered and reissued with bonus tracks in 2002.
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Released on June 25, 1973, by Columbia Records, “Chicago VI” is the fifth studio album by American rock band Chicago. Marking a significant milestone, it became the band’s second consecutive album to reach No. 1 in the US, achieving gold status within a month and later being certified two-times platinum. This album introduced percussionist Laudir de Oliveira, who later became a full member. Notably, it was recorded at producer James William Guercio’s Caribou Studios in Colorado, the band’s new recording base. With hits like “Just You ‘n’ Me” and “Feelin’ Stronger Every Day,” “Chicago VI” solidified the band’s commercial success and enduring legacy.
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Chicago VII, released in 1974, stands as a landmark in Chicago’s discography, marking their first venture into a double album since 1971. Emerging from a period of experimentation during their tour for Chicago VI, the band delved deeper into jazz influences, resulting in an album that fused intricate instrumentals with their signature rock sound. Despite initial hesitation within the group about the commercial viability of the jazz-oriented tracks, the album soared to number one on the charts. Featuring standout performances and compositions from all band members, Chicago VII showcases their musical diversity and collective creativity, solidifying their place as pioneers of the jazz-rock genre.
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Chicago VIII, released in 1975, marked a return to Chicago’s rock roots after the experimental jazz and pop explorations of its predecessor. Recorded at Caribou Ranch amidst the band’s fatigue from years of non-stop touring and recording, the album reflects a more cohesive and straightforward rock sound. Highlights include Peter Cetera’s energetic “Anyway You Want” and the poignant ballad “Brand New Love Affair, Part I & II”. Terry Kath pays tribute to Hendrix with “Oh, Thank You Great Spirit”, while James Pankow’s “Old Days” became a hit. Despite topping charts, Chicago VIII received mixed reviews, noted for its departure from earlier successes yet celebrated for its musical diversity.
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Chicago X, affectionately known as “the Chocolate Album,” marked a pinnacle for Chicago in 1976. Recorded at Caribou Ranch and released by Columbia Records, this eighth studio album swiftly ascended to number three on the Billboard 200, achieving gold certification within a week and platinum status soon after. Honored with a 25-pound bar of platinum by Columbia Records, the band’s achievement was underscored by critical acclaim, including Grammy nominations for Album of the Year and a win for Best Album Package. The album’s standout track, “If You Leave Me Now,” not only clinched Chicago’s first number one single but also garnered multiple Grammy Awards, solidifying its place in musical history.
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Chicago XI, released in 1977, marked a poignant moment in Chicago’s history. It was the band’s final album with guitarist and vocalist Terry Kath, tragically lost shortly after its release. Produced by James William Guercio, a longtime collaborator, the album achieved both commercial success and critical acclaim. Featuring hits like “Baby, What a Big Surprise” and “Take Me Back to Chicago,” which soared on the Billboard charts, the album solidified Chicago’s reputation for blending rock and jazz influences. Chicago XI’s legacy extends beyond its chart performance, serving as a tribute to Kath’s talent and the band’s enduring musical influence during a transitional period in their career.
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Chicago’s “Hot Streets” marked a poignant chapter for the band as they navigated significant changes and loss. Released in October 1978, this album represented a departure from their numbered titles and the beginning of a new era without original guitarist Terry Kath, who tragically passed earlier that year. With Donnie Dacus joining as his replacement, the band ventured into fresh musical territory, blending their signature horn-driven sound with new influences. Produced by Phil Ramone, the album featured collaborations with the Bee Gees, adding a dynamic flair to tracks like “Little Miss Lovin’.” Despite challenges, “Hot Streets” affirmed Chicago’s resilience and enduring musical prowess.
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Chicago 13, released in 1979, marked a transitional phase for Chicago, featuring Donnie Dacus on lead guitar following the tragic loss of Terry Kath. This album, the band’s eleventh studio effort, showcased a departure from their earlier jazz-rock sound, embracing a more diverse musical landscape including disco influences. Despite mixed critical reception and the absence of major hit singles, Chicago 13 reached gold status, underscoring the band’s enduring popularity. The album’s standout track, “Street Player,” later gained recognition through influential samples in subsequent decades, solidifying its place in music history. Chicago 13 remains a testament to the band’s willingness to evolve and experiment within the ever-changing music scene of the late 1970s.
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Chicago’s “Chicago XIV,” released in 1980, stands as a pivotal album in the band’s history marked by significant transitions. Following the lukewarm reception of its predecessor, “Chicago 13,” and amidst changing musical landscapes, the band reshaped its approach. Under producer Tom Dowd, known for his work with iconic acts like Aretha Franklin and Eric Clapton, Chicago crafted a more straightforward, rock-oriented sound, distancing themselves from disco influences. Despite this shift, the album failed commercially, underscoring waning public interest. The departure from Columbia Records after its release further signaled an era’s end. Yet, “Chicago XIV” remains a testament to the band’s resilience and ongoing evolution amidst industry challenges.
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Chicago’s 1982 release, Chicago 16, marked a triumphant return for the band, hailed as their comeback album after a period of commercial quietude. Produced by David Foster, it revitalized their sound with a blend of soulful ballads and pop sensibilities. The album’s standout track, “Hard to Say I’m Sorry,” soared to number one on the charts, solidifying their renewed popularity. Chicago 16’s success was further underscored by its platinum certification merely months after its debut, underscoring its enduring appeal. Notably, the album also signaled a pivotal shift for the band, introducing external songwriters and initiating a decade-long collaboration with Warner Bros. Records.
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Chicago’s 1984 album “Chicago 17” stands as a landmark in the band’s career, showcasing their evolution under producer David Foster with a blend of polished pop and rock sensibilities. Marking their commercial peak, it remains their highest-selling record, surpassing 6.1 million copies worldwide. Singles like “Stay the Night,” “You’re the Inspiration,” and “Hard Habit to Break” not only dominated the charts but also became iconic MTV staples, propelling the album to six-times platinum status. The album’s critical acclaim was cemented with three Grammy Awards, highlighting Foster’s production prowess and the band’s musical finesse. A reissue in 2006 further underscored its enduring influence in the realm of adult contemporary music.
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Chicago 18 marks a significant transition for the iconic rock band, released in 1986 as their fifteenth studio album. It stands as their first record without original vocalist Peter Cetera, who departed to pursue a solo career, paving the way for Jason Scheff to step in on bass guitar and vocals. Produced once again by David Foster, known for his polished touch, the album fused Chicago’s signature brass-infused sound with a contemporary pop edge. Hits like the revamped “25 or 6 to 4,” alongside chart-toppers “Will You Still Love Me?” and “If She Would Have Been Faithful…,” showcased Scheff’s emotive vocals amidst the band’s evolving musical landscape. Despite achieving gold status, Chicago 18 charted moderately, reflecting a period of change and adaptation for the band.
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“Chicago 19,” the sixteenth studio album by American rock band Chicago, was released on June 20, 1988. After their collaboration with David Foster on “Chicago 18,” the band enlisted producers Ron Nevison and Chas Sandford for this project. This album marks the band’s transition to Reprise Records under their Full Moon Records imprint and is the final album featuring original drummer Danny Seraphine, who left the group in 1990. Achieving platinum status, “Chicago 19” produced several hits including “Look Away” (No. 1), “I Don’t Wanna Live Without Your Love” (No. 3), and “You’re Not Alone” (No. 10). The album also featured significant contributions from outside writers, including Diane Warren and Jimmy Scott.
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“Twenty 1” is the seventeenth studio album by American band Chicago, released on January 29, 1991, marking their first album of the 1990s. It spent eleven weeks on the American Billboard 200, peaking at No. 66, but did not chart in the UK. The production saw a significant personnel change with drummer Danny Seraphine replaced by Tris Imboden, and session player John Keane contributing most drum tracks. Despite efforts to bring back their signature horn sound, the album’s commercial performance was lackluster. Singles like “Chasin’ the Wind” saw modest success, reflecting the era’s shifting musical trends.
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“Night & Day: Big Band” is the eighteenth studio album by the American band Chicago, released in 1995. Departing from their usual Top 40 style, this album explores classic big band, jazz, and swing music. After leaving Reprise Records, Chicago launched their own label, Chicago Records, but distributed this album through Giant Records, a Warner Music subsidiary. Produced by Bruce Fairbairn, the album was recorded from late 1994 to early 1995 and released in May 1995. Notably, Joe Perry of Aerosmith contributed a solo to “Blues in the Night.” The album peaked at #90 on the Billboard 200 chart.
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Chicago’s “Chicago XXV: The Christmas Album,” released in 1998, is the band’s nineteenth studio album and twenty-fifth overall. Featuring Chicago’s unique interpretations of beloved Christmas classics along with an original track co-written by Lee Loughnane, the album was produced by Roy Bittan and well-received, peaking at #47 on the US charts and earning a gold certification. In 2003, Rhino Records re-issued the album as “What’s It Gonna Be, Santa?” with six additional tracks produced by Phil Ramone. This re-release featured guitarist Keith Howland’s first lead vocal on “Jolly Old Saint Nicholas” and reached #102 on the charts.
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Chicago XXX, released on March 21, 2006, is the twentieth studio album and thirtieth overall by the American band Chicago. This marked their first album of entirely new material since 1991’s Twenty 1. The album was recorded in Nashville with horn sessions in Los Angeles during the summer of 2005, under the production of Jay DeMarcus from Rascal Flatts, who joined through his friendship with Chicago’s bassist-singer Jason Scheff. Peaking at number 41 in the US, Chicago XXX featured minor hits “Feel” and “Love Will Come Back.” This was the last studio album with long-time vocalist and keyboardist Bill Champlin, who left the band in August 2009.
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“Chicago XXXII: Stone of Sisyphus,” the twenty-first studio album by Chicago, is often dubbed their “lost” album. Recorded in 1993 and slated for a 1994 release, the album was controversially rejected by their record company, leading to a fourteen-year delay before its release in 2008. The album reflects a desire to reconnect with the band’s roots, moving away from commercial pressures. Produced by Peter Wolf, who encouraged the band to focus on their passion rather than creating hits, “Stone of Sisyphus” symbolizes the band’s resilience and dedication to making music for the right reasons.
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Chicago XXXIII: O Christmas Three is the twenty-second studio album and the second full album of Christmas songs by the American rock band Chicago, released on October 4, 2011. This collection includes a mix of holiday classics and a new tune, “Rockin’ and Rollin’ on Christmas Day,” co-written by founding trumpet player Lee Loughnane. Produced by Phil Ramone, who had worked with the band on previous albums, the album features guest artists like Dolly Parton on “Wonderful Christmas Time,” America on “I Saw Three Ships,” BeBe Winans on “Merry Christmas Darling,” and Steve Cropper on “Rockin’ and Rollin’ on Christmas Day.”
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“Chicago XXXV: The Nashville Sessions,” released in 2013, is the band’s twenty-third studio album and thirty-fifth overall. This unique project features new recordings of classic tracks from Chicago’s extensive back catalogue, revitalized with a fresh energy and modern production. Recorded at The Sound Kitchen in Nashville during breaks in their tour schedule, the album captures the enduring spirit and musicianship of the band. By revisiting and reinterpreting their iconic songs, Chicago offers both longtime fans and new listeners a chance to experience their timeless music in a contemporary setting.
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“Chicago XXXVI: Now,” released on July 4, 2014, is the twenty-fourth studio album by Chicago, featuring all-new compositions—the first since 2006’s “Chicago XXX.” This album includes the debut original contributions of band members Walfredo Reyes, Jr. and Lou Pardini. Produced during their American tour, the album utilized a unique mobile recording setup called “The Rig,” capturing isolated performances which were later synchronized online. This innovative process allowed for real-time public previews. “Chicago XXXVI: Now” entered the US Billboard 200 at number 82, marking another milestone in the band’s enduring legacy with its vibrant jazz-pop sound.
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“Chicago XXXVII: Chicago Christmas,” released on October 11, 2019, is the twenty-fifth studio album and fourth collection of Christmas songs by the legendary American rock band Chicago. Marking their thirty-seventh album overall, this project evolved from an initial plan to add new tracks to a previous holiday album. Unlike earlier Christmas albums, this one predominantly features original songs penned by band members. Only “What the World Needs Now Is Love,” “Sleigh Ride (2019),” and “Here We Come a Caroling” are covers. The album topped the Billboard Holiday Albums Sales Chart and highlights lineup changes, including new members Neil Donell and Brett Simons, and the transition of Walfredo Reyes Jr. from percussion to drums. This album is also notable as the first release after the retirement of saxophonist Walter Parazaider, who was succeeded by Ray Herrmann.
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Chicago XXXVIII: Born for This Moment, released on July 15, 2022, marks a significant return for Chicago, their first album of original material since 2014. Initiated during the depths of the COVID-19 pandemic, the album’s genesis stemmed from Robert Lamm’s fruitful collaborations with Jim Peterik and Bruce Gaitsch. Producer Joe Thomas catalyzed the project, recognizing the potential of their work. Lamm, alongside Pankow and Loughnane, took charge, reshaping the band’s musical direction with a tighter, focused approach. Critics like Gary Graff note its blend of pop melodies and Chicago’s signature brass, highlighting Neil Donell’s emergence. Despite some uneven moments, the album retains enough classic Chicago elements to captivate longtime fans anew.
Chicago Albums in Order chronicles the evolution of one of America’s most enduring and influential rock bands. From their beginnings as Chicago Transit Authority to their sustained success over decades, Chicago’s unique blend of rock, jazz, classical, and pop has left an indelible mark on the music industry. Despite lineup changes and personal tragedies, the band has maintained its core members and continues to innovate. Recognized for their commercial success and contributions to music, Chicago’s storied history is a testament to their versatility and enduring appeal, securing their legacy in the annals of rock history.
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