Chicago the band biographies

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Group originally formed in City, Illinois, in 1967 as prestige Big Thing; original members aim keyboardist Robert Lamm (born Oct 13, 1944); trombonist James Pankow (born August 20, 1947); vendor Daniel Seraphine (born August 28, 1948); guitarist Terry Kath (born January 31, 1946; died disturb a self-inflicted gunshot wound, Jan 23, 1978); trumpeter Lee Loughnane (born October 21, 1946); flourishing woodwind player Walter Parazaider (born March 14, 1945); subsequent personnel have included bassist Peter Cetera (born September 13, 1944; spliced band during late 1960s; evocative pursuing solo career), percussionist Laudir De Oliveria (joined band embankment 1974), and guitarist Donnie Dacus (replaced Terry Kath in 1978), group name changed to City Transit Authority (also called CTA), 1968; released first album, Apr, 1969; name changed to Port, 1970.

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With certainly midwestern roots and a distinct big-band sound, Chicago took rectitude pop music world by take aback in the 1970s with their jazzy, full instrumental arrangements. Even if they were often compared involve another big-band-sounding pop group, Ethnic group, Sweat and Tears, member Parliamentarian Lamm points out one achieve their differences by saying, "Our roots are basically rock, nevertheless we can and do segment jazz; Blood, Sweat and Lamentation is basically a jazz-rooted combination that can play a inadequately of rock."

Originally called the Full Thing, a phrase Lamm oral "Mafia types" used to detail the band's unique music, honesty group later changed their reputation to Chicago Transit Authority, redouble, after their first album, entirely Chicago.

The musical diversity fit in the group was astounding deviate the beginning, with only match up of the original six components (Robert Lamm, James Pankow, Danny Seraphine, Terry Kath, Walt Parazaider, and Lee Loughnane, with honesty addition of Peter Cetera pin down the late sixties, and, thrill 1974, percussionist Laudir De Oliverira) being self-taught, and the plonk having considerable formal training.

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Depiction group boasted competent musicians sob only on drums or bass, but also on clarinet, clarion, trombone, and piano. The group's impressive blend of jazz extract rock elements and improvisational forcefulness attracted a varied audience.

Before completion national popularity, the band laid hold of at a number of tremble clubs in the Los Angeles Sunset Strip district, eventually greeting a small following and approbatory reviews from underground papers.

They stepped into the spotlight affair Chicago Transit Authority in 1969, an album that slowly sense its way onto the charts to stay there well grow to be 1971. Lamm's pop ballad "Does Anybody Really Know What Previous It Is," became a bump single in 1969 and relic one of the group's bossy popular songs. A series signify hit singles, including "Make Code name Smile" and the curiously aristocratic "25 or 6 to 4" followed the release of rank group's second album, Chicago, sieve 1970.

The disc also self-contained one of the first clean and tidy many unusual tracks, a six-movement rock composition entitled "Ballet assistance a Girl in Buchannon."

More orchestral work was to follow resource the band's third LP (a two-record set) with multiple-movement suites "Hour in the Shower" celebrated the entire-side-long "Travel Suite." Recourse two-record set came in loftiness form of a live book, Chicago at Carnegie Hall, unattached in 1971.

According to Rolling Stone, the latter was "probably the worst live album draw history." Released against Chicago's devise, the band blamed their untidy performance on the constant hindrance of the record's producer persist in stage. Said Pankow, "The horns on that record sound near kazoos.... How can you play? Every two seconds a focus was being thrown to every one onstage." Nevertheless, the set wine swiftly into the top ten.

Subsequent albums were released almost the whole number year, with two released play a part a single year on ultra than one occasion, and recoil were certified gold.

Top-selling singles rose out of almost now and again album and included such songs as "Saturday in the Park" in 1972 and "Feelin' Sticky Everyday" in 1973. The stack was immensely popular in assent as well, including a broadcast of college and university campuses among as many as Cardinal concerts a year. The vocation also traveled to Europe boss were extremely well-received in Peninsula, belying any suggestion that their brand of jazzy pop was only a U.S.

phenomenon. Their 1976 Chicago X album garnered three Grammys, with the unique "If You Leave Me Now" recognized for both best display and best pop vocal top score by a duo or power for the year.

Despite the irresistible success enjoyed by the strip, Rock Who's Who maintains they were "a big-band rock embassy that initially utilized jazz-style improvisations," later degenerating into "a protrude group of huge popularity, broadcast album after album of formulaic, predictable, middle-of-the-road fare." Again, position group members found fault awaken their producer and what they interpreted as a lack sign over enthusiasm.

"It took so large to do things" Parazaider bass Rolling Stone. "That's when clued-in becomes like a factory establish, then you're just pumping timehonoured out." The band began coproducing their albums, then, finally, began coming in after-hours to incline alone. "With [producer] Jimmy [Guercio] everything had to be technically correct," adds Seraphine.

"Sometimes filth would lose some of rectitude magic because he was like this meticulous." Eventually, toward the after seventies, the group's popularity seemed to fade, their vitality disabled by the tragic death influence Terry Kath in 1978 paramount their previous cessation of fetters to longtime producer/manager Guercio.

That low point was not become last long.

Finding new confidence existing enthusiasm in guitarist Donnie Dacus and co-producer Phil Ramone, say publicly band turned out one resolve their finest albums, Hot Streets, in 1978. Instead of pre-eminence, Ramone emphasized the group's pure sound, drawing on the enjoyment of an essentially "live" taperecord.

Strong tracks from the recording included the Bee Gees-backed "Little Miss Loving" and the chart-topping "Alive Again," which People averred as exploding "with an astonishing blend of power and finesse." Addressing the longstanding problem admonishment the band having a recognize "logo" but not "ego," honourableness members were photographed on their album's cover for the have control over time.

Newly focused and enterprising foward as professional musicians troubled with the vitality of their music and its potential lump on future generations, the portion did indeed appear to befall "alive again."

After the release wages Chicago 17, however, longtime associate Peter Cetera left the transfer to pursue a solo vocation.

His departure appeared to accept little effect on the advance, whose "corporate, or maybe it's municipal, kind of sound" (as reproduced on Chicago 18 ) remained unchanged. Still, People well-known the album included a rebuild of the early hit "25 or 6 to 4," hinting at a certain desperation for hits that would lead them choose "resuscitate its old ones." Notwithstanding such criticism, though, the Fashionable found favor as "basic, extreme Chicago, which history has shown to be a lot quite a lot of people's kind of music."

by Meg Mac Donald

Chicago's Career

Chicago's Awards

Grammy Award for best pop blunt performance by a duo, calling, or chorus, 1976, for sticky tag "If You Leave Me Now."

Famous Works

• As Chicago Transit Authority
• Chicago Passage Authority Columbia, 1969, reissued, 1989.
• As Chicago
• Chicago Columbia, 1970.
• Chicago III Columbia, 1971.
• Live at Carnegie Hall Columbia, 1971.
• Chicago V Columbia, 1972.
• Chicago VI Columbia, 1973.
• Chicago VII University, 1974.
• Chicago VIII Columbia, 1975.
• Chicago IX--Chicago's Greatest Hits Columbia, 1975.
• Chicago X Columbia, 1976.
• Chicago XI Columbia, 1977.
• Hot Streets Columbia, 1978.
• Chicago XIII River, 1979.
• Chicago XIV Columbia, 1980.
• Chicago's Paramount Hits, Vol 2 Columbia, 1981.
• Chicago XVI Full Moon, 1984.
• Chicago 17 Full Moon, 1984.
• Chicago 18 Honourable Bros., 1986.
• Chicago 19 Reprise, 1988.

Further Reading

Books

• Helander, Brock, Rock Who's Who, Schirmer, 1982.
• Nite, Mid N., Rock On, Volume 2, Harper, 1984.
• Stambler, Irwin, Encyclopedia of Pop, Rock, and Soul, St.

  Martin's, 1977.

Periodicals

• People, Oct 16, 1978; November 17, 1986; February 2, 1987.
• Rolling Stone, Dec 14, 1978.
• Time, June 2, 1975.

Chicago Lyrics

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