About The Artist
Chicago is a rock band formed in 1967 in Chicago, Illinois. The band began as a politically charged, sometimes experimental, rock band and later moved to a predominately softer sound, becoming famous for producing a number of hit ballads. They had a steady stream of hits
throughout the 1970s and 1980s. Second only to the Beach Boys in terms of singles and albums, Chicago is one of the longest running and most successful U.S. pop/rock and roll groups. According to Billboard, Chicago was the leading U.S. singles charting group during the 1970s.
Beginnings
The band was formed when a group of DePaul University music students began playing a series of late-night jams at clubs on and off campus. They added more members, eventually growing to seven players, and went professional as a cover band called The Big Thing. The band featured an unusual and unusually versatile line-up of instrumentalists, including saxophonist Walter Parazaider, trombonist James Pankow, and trumpet player Lee Loughnane, along with more traditional rock instruments — guitarist Terry Kath, keyboardist Robert Lamm, drummer Danny Seraphine, and bassist Peter Cetera (who was the last to join the original group). While gaining some success as a cover band, the group worked on original songs and, in June 1968, moved to Los Angeles, California under the guidance of their friend and manager James William Guercio, and signed with Columbia Records. After the move west, The Big Thing changed their name to Chicago Transit Authority.
Their first record(released in April 1969), the eponymous The Chicago Transit Authority, was an audacious debut: a sprawling double album, virtually unheard of for a rookie band (only "Freak Out!" by the Mothers of Invention and "Loosen Up Naturally" by Sons of Champlin, featuring Bill Champlin, who would later become a member of Chicago, preceded it) that included jazzy instrumentals, extended jams featuring Latin percussion, and experimental, feedback-laden guitar abstraction. The album began to receive heavy airplay on the newly popular FM radio band; it included a number of pop-rock gems — "Does Anybody Really Know What Time It Is?", "Beginnings", and "Questions 67 and 68" — which would later be edited to a radio-friendly length, released as singles, and eventually become rock radio staples.
Soon after the album's release, the band's name was shortened to simply Chicago, when the actual Chicago Transit Authority threatened legal action.
Chicago's heyday
The band's popularity exploded with the release of their second album, another double-LP set, which included several top-40 hits. This second album, titled Chicago (also known as Chicago II), was the group's breakthrough album. The centerpiece track was a thirteen-minute suite composed by James Pankow called "Ballet for a Girl in Buchannon" (the structure of this suite was inspired by Pankow's love for classical music). The suite yielded two top ten hits, the crescendo-filled "Make Me Smile" and prom-ready ballad "Colour My World", both sung by Terry Kath. Among the other popular tracks on the album: Robert Lamm's dynamic but cryptic wah-wah-buttressed "25 or 6 to 4" (a reference to a songwriter trying to write at 25 or 26 minutes to 4 in the morning, sung by Cetera), and the lengthy war protest song "It Better End Soon." The band recorded and released music at a rate of at least one disc per year from their third album in 1971 on through the 1970s. During this period, the group's album titles invariably consisted of the band's name followed by a Roman numeral indicating the album's sequence in the group's canon, a naming pattern that lent an encyclopedic aura to the band's work. (The two exceptions to this scheme were the band's fourth album, a live boxed set entitled Chicago at Carnegie Hall and their twelfth album Hot Streets. While the live album itself did not bear a number, each of the four discs within the set was numbered Volumes I through IV.)
In 1971, Chicago released the ambitious quadruple-album live set, Chicago at Carnegie Hall Volumes I, II, III, and IV, consisting of live performances, mostly of music from their first three albums, from a week-long run at the famous venue (along with the James Gang and Led Zeppelin in 1969, one of the few rock bands to play the historic concert hall since the Beatles performed there on February 12, 1964). The performances and sound quality were judged sub-par; in fact, trombonist James Pankow went on record to say that "the horn section sounded like kazoos." The packaging of the album also contained some rather strident political messaging about how "We [youth] can change The System," including massive wall posters and voter registration information. Nevertheless, Chicago at Carnegie Hall went on to become the best-selling box set by a rock act, and held that distinction for 15 years.
The group bounced back in 1972 with their first single-disc release, Chicago V, a diverse set that reached number one on both the Billboard pop and jazz albums charts and yielded the Robert Lamm-composed-and-sung radio hit and perennial fan favorite "Saturday in the Park", which mixed everyday life and political yearning in a more subtle way. Chicago would long open their concerts with the hit song.
In 1973, the group's manager, Guercio, produced and directed Electra Glide in Blue, a movie about an Arizona motorcycle policeman. The movie starred Robert Blake, and featured Cetera, Kath, Loughnane, and Parazaider in supporting roles. The group also appeared prominently on the movie's soundtrack.
Other successful albums and singles followed in each of the succeeding years. 1973's Chicago VI topped the charts buoyed by the hits "Feelin' Stronger Every Day" and "Just You 'N' Me" and it was also the first of several albums to include Brazilian jazz percussionist Laudir DeOliveira. Chicago VII, the band's double-disc 1974 release, featured the Cetera-composed "Wishing You Were Here", sung by Terry Kath and Cetera with background vocals by Cetera and The Beach Boys and some fusion jazz. Chicago VII also provided one of the group's enduring signature tunes, the anthemic "(I've Been) Searchin' So Long," which started with as a soft ballad and culminated in a hard-rock conclusion featuring Terry Kath's electric guitar soloing against the Chicago horn section and a soaring string arrangement by Jimmie Haskell. "Happy Man," another song from Chicago VII, was also a popular favorite on FM radio, was a big hit in South America and subsequently covered by Tony Orlando and Dawn on their album To Be With You. Their 1975 release, Chicago VIII, featured the political allegory "Harry Truman" and the nostalgic Pankow-composed "Old Days". That summer also saw a very successful joint tour across America with The Beach Boys, with both acts performing separately, then coming together for a rousing finale. The tour was considered one of the highest grossing in rock music up to that time.
Chicago gave a concert in Mèxico City in 1975 at the Auditorio Nacional which was highly appreciated by the attendants in spite of the fact that the Mexican press later reviewed it not as one of the band’s better performances, presumably for the band not being 'in the best of shape'. The tickets for the concert sold so fast that thousands of people were not able to get in, so Terry Kath asked those inside to applaud for those standing outside. Carmen Romano de Lòpez Portillo, the wife of Mèxico's then-President Josè Lòpez Portillo, is said to have been among the attendants in the first row.[citation needed]
But for all their effort, none of their singles went to number one until Chicago X in 1976, when Cetera's slow, exquisite ballad "If You Leave Me Now" climbed to the top of the charts. The song also won Chicago their only Grammy award, for Best Pop Performance by a Duo or Group in 1977. Ironically, the tune almost did not make the cut for the album; "If You Leave Me Now" was recorded at the very last minute. The huge success of the song would foreshadow a later reliance on ballads that would typecast the group on radio, despite the presence of mellower songs on all the previous albums. The group's 1977 release, Chicago XI, was another big success for the band; it included Cetera's hit ballad "Baby, What a Big Surprise" which became one of the group's last big hits of the decade.
Info courtesy of Wikipedia
Beginnings by request
When I'm with you
It doesn't matter where we are
Or what we're doing
I'm with you
That's all that matters
Time passes much too quickly
When we're together laughing
I wish I could sing it to you, oh, oh
Wish I could sing it to you
Wo wo wo wo wo wo woah
Wo wo wo wo wo wo woah
Mostly I'm silent, mmm
Silent, la la la la
Try and think of the
Right words to say
When I kiss you
I feel a thousand different feelings
A cover of chills all over my body
And when I feel them
I quickly try to decide which one
I should try to put into words, oh no
Try to put into words
Wo wo wo wo wo wo woah
Wo wo wo wo wo wo woah
Mostly I'm silent, silent
La la la la........silent
Only the beginning
Of what I want to feel forever
Yeah, woah oh oh
Yes, only the beginning
Of what I want to feel forever
Only the beginning
Only just the start, yeah
I got to get you into my life, mama
Got to get you next to me
Yes, only the beginning
Only just the start
Hey hey hey hey, hmm mmm
Only the beginning
Only the beginning
Only the beginning
Only the beginning...