Chicago V Songs Ranked

Chicago V is the fourth studio album by American rock band Chicago and was released on July 10, 1972. It is notable for being the group’s first single album release, after having released three consecutive double albums and a four-disc box set of live material. Following the release of Chicago III in 1971, the group changed from producing double albums, with many songs arranged in extended suites, in favor of more concise tracks on a single album.^[3] It is often considered as the group’s return-to-basics as it has a sound resembling their first album, Chicago Transit Authority. Chicago V is also notable for Robert Lamm’s prolific songwriting; eight out of its ten tunes are composed solely by him. Terry Kath wrote and sang the album’s final track “Alma Mater”, which showcased his acoustic guitar abilities. The song “A Hit by Varèse” is a tribute to French-American composer Edgard Varèse. This would be the last album not to have any compositions from Peter Cetera during his tenure in the band. Here are all of Chicago V songs ranked.

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10. Dialogue (Part Two)

“Part 2 is basically an idealistic mantra, repeated singings of phrases like “We can make it happen, and “We can save the world now,” preceded by a kickass guitar solo by (did he play any other kind?) Terry Kath. Part 2 is somehow both timeless and yet resolutely of its own specific time, an era when chanting shamelessly idealistic phrases didn’t seem so unusual.”

9. Alma Mater

“Alma Mater,” which just as the name implies is a nostalgic look back at times shared with young friends, bonding together as each try to find themselves. Between the subject matter, the elegiac piano, and Kath’s soulful, impassioned voice, it’s a perfect way to wind down the album.”

8. Goodbye

“Goodbye” starts to wind down the album and it’s one of my greater private pleasures among Chicago’s recordings. The lyrics speak of being exhausted and spent by Chicago’s recent few years of celebrity, and they’re set to music that is poignant without being sentimental. The opening jazz-waltz brass riff is both pretty and a bit mournful, and the 7/4 time of the verses is pulled off with an engaging, brisk energy.”

See more: Chicago Albums Ranked

7. Dialogue (Part One)

” Part 1 is a dialogue between a concerned character sung by Terry Kath, and a blithely oblivious friend sung by Pete Cetera. Kath’s character sees suffering in the world and wonders what Cetera’s character thinks should be done about it. Cetera’s character can’t see beyond the comforts of his own life. The song ends in an ominous fashion when Kath’s character either adopts the other character’s attitude of denial, or pretends to.”

6. Now That You’ve Gone

Anyway, enough griping. Even longtime Chicago fans like me who have outgrown their youthful infatuation with the band will find gems here. The brass solo in “Now That You’ve Gone” is as bright and breezy as any of the band’s best.”

5. State of the Union

“State of the Union”, another terrible song title, is actually a REALLY great song. Lamm’s “State of the Union” railed against the hypocrisies wrought by tight-assed society and authoritarianism.”

See more: Chicago Songs Ranked

4. Saturday in the Park

“I used to hate “Saturday in the Park” when I was a kid. “Saturday In the park” I think it was the Fourth of July”, haha. I used to think that vocal melody was quite bad, but now that I’m older and more open-minded, I realize the error of my ways. My favorite part of the song is still when it speeds up and the “slow motion rider” lyrics kick in.”

3. All Is Well

“All is Well” is a sweetly-harmonized and doleful look back at the painful end of a love affair. But the horn solo that Jim Pankow inserts into this graceful tune is mechanical and inappropriately edgy”

2. A Hit by Varese

“The disc begins with “A Hit by Varese,” with Lamm lamenting the apparent inability for pop music to open its ears to experimentalism even as it expresses the hope that a composer as relatively obscure and difficult as Edgard Varese could have a hit single. The song’s challenging beat and Terry Kath’s grinding guitars backed up Lamm’s utopic lyrical sentiments with a hard-edged musical stance.”

1. While the City Sleeps

“The second side on the original album begins with “While the City Sleeps,” in which Lamm crosses the line from concern and pessimism into outright paranoia (no worries; it works). Again the brass arrangement here is very understated, fitting the somber mood of the cut. It still has an infectious groove, though, and Kath plays one of his more understated and yet powerful solos on this one, with the brass gradually ascending in the background.”