Bradley Ruzicka

Earlier this week, Maru and I saw the band Chicago in concert. Listening to their many hits during a very good 2 1/2 hour show brought back memories of a group that has been one of my favorites since the 1970s. A good topic for my third post in the “A Tribute to an Enduring Past” series!

Chicago was formed in 1967 in Chicago, Illinois as a self-described “rock and roll band with horns”. Second only to The Beach Boys in Billboard Singles and Album chart success among American bands, Chicago is one of the longest-running and most successful groups in rock and roll history having released 36 albums (23 studio albums, 10 compilation albums, 3 live albums) of which 23 went gold, 18 platinum, and 8 multi-platinum while selling 100+ million records between 1969 and 2014. During that time, the group charted 5 No. 1 albums, 21 Top Ten singles, and were the leading US singles charting group of 1970s!

The original band membership consisted of saxophonist Walter Parazaider, guitarist / vocalist Terry Kath, drummer Danny Seraphine, trombonist James Pankow, trumpet player Lee Loughnane, and keyboardist / vocalist Robert Lamm. Early on, the group, originally calling themselves “The Big Thing”, realized they needed a tenor to complement baritones Lamm and Kath. In December 1967, Peter Cetera, lead singer of another Chicago area group named “The Exceptions”, heard a “Big Thing” show and was impressed by their use of a horn section combined with rock and roll. Within two week, Cetera left “The Exceptions” to join “The Big Thing”.

Shortly after, the group moved to Los Angles and, in June 1968, renamed themselves Chicago Transit Authority. Less than a year later, in April 1969, the group released their first self titled double album, Chicago Transit Authority. It quickly sold over 1 million copies, produced the singles Does Anybody Really Know What Time It Is?, Beginnings, Questions 67 and 68, I’m a Man, and achieved platinum status by 1970. It was also at this time that the actual Chicago Transit Authority threatened legal action and the band decided to shorten its name to just Chicago.

It’s this iteration of the Chicago lineup, Robert Lamm, Terry Kath, Peter Cetera, Walter Parazaider, James Pankow, Lee Loughnane, and Danny Seraphine, that are responsible for the trademark Chicago sound; a fusing of brass, jazz, and a soulful rock and roll feel combined with Lamm, Kath, Pankow, and Cetera’s lyrical compositions. Between 1969 and 1978, this lineup produced nine studio albums (Chicago Transit Authority later known as Chicago, Chicago later retitled Chicago II, Chicago III, Chicago V, Chicago VI, Chicago VII, Chicago VIII, Chicago X, Chicago XI) of which four were double albums (Chicago, Chicago II, Chicago III, Chicago VII), one multi-disc live album (Chicago Live at Carnegie Hall informally know as Chicago IV), and a greatest hits album (Chicago IX).

It was also during this time that the band produced the majority of its best known singles including Does Anybody Really Know What Time It Is?, Beginnings, Questions 67 and 68, I’m a Man (Chicago – 1969), Make Me Smile, Colour My World, 25 or 6 to 4 (Chicago II – 1970), Free (Chicago III – 1971), Saturday In the Park, Dialogue Part I & II (Chicago V – 1972), Feeling Stronger Every Day, Just You ‘n’ Me (Chicago VI – 1973), (I’ve Been) Searching So Long, Call On Me, Wishing You Were Here (Chicago VII – 1974), Old Days (Chicago VIII – 1975), Another Rainy Day In New York City, If You Leave Me Now (Chicago X – 1976), and Baby What A Big Surprise (Chicago XI – 1977).

The release of If You Leave Me Now represented the commercial highpoint of this period, becoming the group’s first US No. 1 single as well as winning two Grammy awards in 1977. However, the song also represented a turning point in the band’s history. James WIlliam Guercio, who produced all eleven Chicago albums between 1969 and 1978, wanted to include Peter Cetera’s newest composition on Chicago X. Although the other band members liked the song, they felt that, as a romantic ballad with strings, it was completely out of place stylistically with the rest of the group’s music. As producer, Guercio overruled the band and included it on the album despite their objections.

When the song became the group’s first #1 hit, it completely changed the public’s perception of Chicago, leading to more demand for Peter Cetera and ballads. Robert Lamm and Terry Kath, in particular, were uncomfortable with this turn of events and it reinforced a growing dissatisfaction with Guercio’s control over the band. Finally, after the release of Chicago XI, the group decided to fire their long time producer and move on without him at the beginning of 1978.

Shortly after Guercio’s release, tragedy struck the band, one that would signifying the end of an era for Chicago. On January 23, 1978, Terry Kath, regarded by many as the “soul” of Chicago, accidentally and fatally shot himself during a party at roadie Don Johnson’s house. A gun enthusiast, Kath reportedly pulled out his gun at the party and, while inebriated, attempted to demonstrate that it was unloaded by pointing it to his head and pulling the trigger, not realizing a bullet was in the chamber. The remaining members of Chicago were shocked and devastated by Kath’s death and, for a time, even considered breaking up. After several weeks of mourning, the group decided to move on.

A new era in the band’s history had begun.

The release of their long time producer James Guercio, the death of founding member Terry Kath, and the changing musicial styles at the end of the 1970s represented a low point in Chicago’s history. For the first time since the release of Chicago Transit Authority in 1969, the band’s next three studio albums (Hot Streets, Chicago 13, Chicago 14) failed to reach the Top Ten. In 1981, Columbia Records dropped them from its label and released a second “Greatest Hits” volume (also known as Chicago 15) later that year to fulfill its contractual obligation.

In 1982, with the help of a new producer (David Foster), a new label (Warner Brothers), and a new keyboardist / guitarist / vocalist (Bill Champlin) replacing Terry Kath, Chicago would adopt a new musical style. Less emphasis would be placed on the band’s classic horn-based sound as well as on the use of Robert Lamm as lead vocalist. Instead, Chicago would primarily focus on a soft rock / adult contemporary sound as well as highlight the lead vocals of Peter Cetera (later Jason Scheff) and Bill Champlin to produce the lush power ballads for which the group became know in the 1980s. Foster also brought in studio musicians for some tracks and used new technology (such as synthesizers) to “update” and streamline the group’s sound, further pushing back the horn section and, in some cases, not using them at all.

Between 1982 and 1989, the band’s new sound brought more commercial success than ever in their history before or since; singles such as their second No. 1 hit Hard To Say I’m Sorry (Chicago 16 – 1982), Hard Habit To Break, You’re The Inspiration (Chicago 17 – 1984), Will You Still Love Me (Chicago 18 – 1986), What Kind Of Man Would I Be, and, their third No. 1 hit, Look Away (Chicago 19 – 1988) as well as their largest selling album ever (Chicago 17). Look Away ultimately was named the Billboard Hot 100 No. 1 Song of the Year for 1989. However, the new sound also caused internal friction within the group ultimately contributing to Peter Cetera’s departure and the arrival of his replacement, bassist / singer / songwriter Jason Scheff, in 1985.

Although Chicago would subsequently release another 17 albums between 1991 and 2014 (Twenty 1 – 1991, Night & Day: Big Band – 1995, Chicago XXV: The Christmas Album – 1999, Chicago XXX – 2006, Chicago XXXII: Stone of Sisyphus – 2008, Chicago XXXIII: O Christmas Three – 2011, Chicago XXXVI: Now – 2014) including eight compilation albums (Greatest Hits 1982 – 1989, The Heart of Chicago 1967 – 1997, The Heart of Chicago 1967 – 1998 Volume II, The Very Best of Chicago: Only The Beginning, The Box, Love Songs, The Best of Chicago: 40th Anniversary Edition, Chicago XXXV: The Nashville Sessions) and two live albums (Chicago XXVI: Live in Concert, Chicago XXXIV: Live in ’75), only three, Twenty 1, Chicago XXX, and Chicago XXXVI: Now, would be composed entirely of original music.

As a result, the band would never again recapture the artistic success of the 1970s nor the commercial success of the 1980s. 2006’s Chicago XXX, their twentieth studio album and thirtieth album overall as well as the band’s first album in 15 years composed of entirely new material, was their highest rated release during this period. The album peaked at No. 41 during its brief stay on the US Billboard Album Chart, spawning minor hits Feel and Love Will Come Back. (No. 19 and 21 on the US Billboard Singles Chart respectively).

Chicago’s lineup would also continue to change during this time, most notably, founding member Danny Seraphine would leave the group in 1990 to be replaced by Tris Imboden while Bill Champlin would depart in 2009 to be replaced by Lou Pardini. Only three of the band’s six founding members (Robert Lamm, Lee Loughnane, James Pankow) continue to perform full time as of 2015 with founding member Walter Parazaider performing on a part time basis replaced on occasion by saxophonist Ray Herrmann. Lamm and Parazaider are both 70 while Loughnane is 68 and Pankow is 67.

Yet, despite the tragic death of one of the band’s founding members as well as numerous changes in producers, lineups, and musical tastes over the years, Chicago, the band and its music, endures to this day. They continue to tour every year and, while perhaps not what they once were, their concerts remain an event worth attending. God only knows how long the band will remain an active member of the music scene. As with us all, father time will eventually take its toll. However, even when the band Chicago is no more, the legacy of its music will remain a force for generations to come!

A final comment. It’s my personal hope that, before Chicago leaves the music scene once and for all, Peter Cetera (also 70+ years of age) will rejoin the band for one last performance. Unfortunately, perhaps the best opportunity for such a reunion went unrealized when Cetera chose not to attend the group’s induction into the Rock and Roll Hall of Fame on April 8 2016.

To end this post, I’ve attached two videos. The first video, 1970’s Does Anybody Really Know What Time It Is (Lead Vocals – Robert Lamm, Supporting Vocals – Terry Kath and Peter Cetera), represents to me the best of the classic Chicago lineup. The video shows the band at the start of their rise to musical stardom; rough around the edges but playing the trademark Chicago sound that has made the group’s music so memorable.

The second video, 1982’s Hard To Say I’m Sorry (Lead Vocals – Peter Cetera, Supporting Vocals – Robert Lamm and Bill Champlin), represents I believe the best of the 1980s Chicago sound and is a personal favorite of mine. However, note the changes in the band’s musical style (not to mention their appearances!) between 1970 and 1982, particularly the absence of the trademark brass section.

As always, your feedback is appreciated!