There’s always a place for a big rock & roll band with a great horn section, and on that note, there’s one name that leaps out: Chicago.
Chicago formed up in (duh) Chicago, Illinois, in 1967. They were one of the first big rock & roll bands to feature a great horn section, which is part of their distinctive style. The original members were lead guitarist Terry Kath, bass guitarist Peter Cetera, keyboardist Robert Lamm, trumpet player Lee Loughnane, trombonist James Pankow, drummer Danny Saraphine, and, on woodwinds, Walter Parazaider. Lead vocals on various songs were shared by Peter Cetera, Terry Kath, and Robert Lamm. They originally styled themselves as The Big Thing (!) and then, in 1968, they switched the name to Chicago Transit Authority and, in 1969, to simply Chicago.
The band went through several changes in personnel over the years, but their sound kept the traditional big horn section, although their style changed some as time went on. As seems to always be the case, I preferred their older work, but your mileage may vary. Music appreciation is a very subjective thing, after all.
So, here are some of my favorites, and again, you’ll note that most of them are from the 1970s– yes, nostalgia is a factor.
Does Anybody Really Know What Time It Is? (1969): This one’s from Chicago’s first album, was written by and sung by keyboardist Robert Lamm. He later said about the tune:
I was a teenager walking down the street in Brooklyn, New York, where I grew up. I walked by a movie theater, and there was an usher standing outside taking a cigarette break. I said to him, 'Hey man, what time is it?' and he said, 'Does anybody really know what time it is?' I remembered that when I was trying to write this sort of Beatle-esque shuffle and just explore the idea of 'Does anybody really know what time it is?'
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25 Or 6 To 4 (1970): This song’s another work by Robert Lamm, and despite the sometimes confusing lyrics, it’s about trying to write a song. The title refers to the time of day, which, depending on how you look at it, could be 3:25 AM (25 to 4) or 3:34 AM (26 to 4). Again, Robert Lamm spoke about it later:
Saturday In The Park (1973): Another Robert Lamm tune, this one was reportedly written after a particularly enjoyable Saturday in New York’s Central Park, back in the bucolic days in the Big Apple when Central Park was still a safe place.Feelin’ Stronger Every Day (1973): Now, we finally get away from Robert Lamm productions, not that they weren’t great, but this one was written and scored by Peter Cetera. It’s about healing and moving on from an ended relationship, according to Peter Cetera, but there are rumors that he was also influenced by the sudden rush of success the band was enjoying by this time in their careers.Old Days (1975): This mid-70’s tune was written by James Pankow and appeared on the album Chicago VIII, and it features some great vocals from Peter Cetera. James Pankow described it as a nostalgia song about his youth.I was living with a bunch of hippies up above Sunset Strip. One of the advantages of this particular house was that it was in the Hollywood Hills and I could look out over the city late at night. I wanted to try to describe the process of writing the song that I was writing. So, 'waiting for the break of day, searching for something to say, flashing lights against the sky' - there was a neon sign across the city. That song came from the fact that it was 25 or 6 to 4 a.m. in the morning when I looked at my watch - I was looking for a line to finish the chorus.
It touches on key phrases that, although they date me, are pretty right-on in terms of images of my childhood. The Howdy Doody Show on television and collecting baseball cards and comic books.
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Just You ‘N’ Me (1975): This is another James Pankow tune, this one written after a blowout between Pankow and his girlfriend. He later said:
We had had a huge fight, it was a nasty lovers' quarrel, if you will. She locked herself in the bathroom and wouldn't come out...'Just You 'n' Me' poured out of me in its entirety.
Pankow and the girlfriend ended up getting married, so, all’s well that ends well.
Hard To Say I'm Sorry/Get Away (1982): This song wins a place on the list because, not only is it a pretty good illustration of how Chicago’s style was changing by the early ‘80s, but it’s also a pretty good song. This one came out as Chicago was making something of a comeback, having been dropped by Columbia Records and starting up again on Warner Brothers’ Full Moon label. This one shot to #1 on the U.S. charts pretty quickly, renewing the band and ushering them into the new decade of rock. This song also features Peter Cetera’s great vocals.Oh, and the best news? They’re still touring.Got any great Chicago favorites? Any concert memories? Any other memories? Let’s hear them. The comments, again, are all yours.
