Chicago at Carnegie Hall (also known as Chicago IV) is the first live album, and fourth album overall, by American band Chicago. It was initially released on October 25, 1971 by Columbia Records as a four-LP vinyl box set, and was also available for a time as two separate two-record sets. A Quadraphonic mix of the album was proposed, but was never made, possibly due to the band's objection to the album being released in the first place. This is the only Chicago album of the group's first ten releases not to have a Quadraphonic release in any format. The album reached No. 3 on the Billboard 200. It was certified gold by the Recording Industry Association of America (RIAA) two weeks after its release, and was certified platinum in 1986. Background While touring in support of Chicago III, Chicago played Carnegie Hall for a week in April 1971 and recorded all of their shows. A four-LP box set collection for release as Chicago's fourth album (that distinction being responsible for the album's nickname of Chicago IV) was the result. Walter Parazaider told writer William James Ruhlmann that The reason behind the live record for Carnegie Hall is, we were the first rock 'n' roll group to sell out a week at Carnegie Hall, and that was worth rolling up the trucks for, putting the mikes up there, and really chronicling what happened in 1971. Columbia were very skeptical on the risk the extended set posed, and with a decrease in royalties to counter that fear (a similar situation befell their 1969 debut Chicago Transit Authority), Chicago released Chicago at Carnegie Hall that October to a mixed reaction. While the set sold very well, reaching No. 3 in the US (but failing to chart at all in the UK), the critics found the album too long—and even indulgent with its inclusions of tune-ups. The band themselves have remained divided through the years over the merits of the album. Robert Lamm and Walter Parazaider defended the album to William James Ruhlmann, while James Pankow and Peter Cetera were not happy with the result. Pankow told Ruhlmann, I hate it. ... The acoustics of Carnegie Hall were never meant for amplified music, ...the sound of the brass after being miked came out sounding like kazoos. Lee Loughnane said that although he thinks the album is good, there were many things he didn't