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    Default Chicago

    Couldn't find a thread on them-Anybody else like the band, Chicago? Probably the only "rock" band I took to immediately-this was before 'disco' came along and fell in love with it.

    They're having a documentary about the band tonight on CNN. Called "Chicago Forever."

    (They're showing home movies at Caribou Ranch-their producer built it with all his Chicago money-it's where they wrote a lot of their songs-funny, how I never heard of Caribou Ranch before Michael went there).
    Last edited by barbee0715; 02-01-2017 at 03:44 AM.

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    Default Re: Chicago

    I have a few of their albums. I like their 1970s stuff better than the 1980s power ballad era though. Their former drummer Danny Seraphine put out an autobiography a few years ago. It was interesting.

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    Default Re: Chicago

    Quote Originally Posted by DuranDuran View Post
    I have a few of their albums. I like their 1970s stuff better than the 1980s power ballad era though. Their former drummer Danny Seraphine put out an autobiography a few years ago. It was interesting.
    I just have a few 70's albums too-that I played til they're scratched up to death-but I like the power ballad stuff too.

    I enjoyed the interviews with David Foster in this doc-every time I see him, I can't help think what an ego he has. But he's funny about it, so it makes me laugh.



    (I have no doubt that every artist has an enormous ego, or they wouldn't be able to survive in the entertainment field).

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    Default Re: Chicago

    Chicago is great! There was a segment about them some time ago last year on CBS Sunday Morning. I remember my band director playing their tunes to point out the horn section in particular.

    http://www.cbsnews.com/news/for-chic...-end-in-sight/


    I once had a thousand desires, but in my one desire to know you, all else melted away.

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    Default Street Player

    This single flopped when it was released. Probably because it came out around the time of the Disco Demolition riot at the baseball game and many Top 40 stations stopped playing songs that were considered danceable. But Pitbull later sampled it on I Know You Want Me and it became a big hit, so Pitbull's song made a lot of money for the writers, one from Chicago and the other from the funk band Rufus (the band Chaka Khan was in). Rufus actually recorded Street Player first, but their version wasn't a single



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    Default Chicago II Collector’s Edition


    Includes the Soundstage Performance On CD and DVD Plus the Original Chicago II Album Remixed by Steven Wilson On Both CD and Double-LP

    Chicago went home to its namesake city in 2017 to record a live version of the band's multi-platinum second album, Chicago II. Recorded at the historic WTTW-TV studios, Chicago II: Live On Soundstage underscores the enduring popularity of Chicago's second album with an energized performance of the entire double-LP in front of a live audience, including several songs that haven't been played live since the 1970s.

    Originally released in January 1970 as Chicago (and later dubbed Chicago II ), the album was a major breakthrough for the band and features some of the group's biggest hits, including the Top 10 singles: "25 Or 6 To 4," "Make Me Smile" and "Colour My World." Nominated for three Grammy awards and certified double-platinum, the album is also known for several extended song cycles: "Ballet For A Girl In Buchannon" by trombonist/composer James Pankow; "Memories Of Love" by guitarist Terry Kath and composer Peter Matz; and "It Better End Soon" by keyboardist/vocalist/composer Robert Lamm.

    The Chicago II: Live On Soundstage Collector's Edition comes with the Soundstage performance on CD and DVD, as well as the original Chicago II album remixed by acclaimed producer Steven Wilson on both CD and double-LP.

    LP1 - Chicago II (Steven Wilson Remix)

    Movin' In
    The Road
    Poem For The People
    In The Country
    Wake Up Sunshine
    Make Me Smile
    So Much To Say, So Much To Give
    Anxiety's Moment
    West Virginia Fantasies
    Colour My World
    To Be Free
    Now More Than Ever

    LP2 - Chicago II (Steven Wilson Remix)
    Fancy Colours
    25 Or 6 To 4
    Prelude
    A.M. Mourning
    P.M. Mourning
    Memories Of Love
    It Better End Soon (1-4 Movements)
    Where Do We Go From Here

    CD1 - Chicago II (Steven Wilson Remix)
    Movin' In
    The Road
    Poem For The People
    In The Country
    Wake Up Sunshine
    Make Me Smile
    So Much To Say, So Much To Give
    Anxiety's Moment
    West Virginia Fantasies
    Colour My World
    To Be Free
    Now More Than Ever
    Fancy Colours
    25 Or 6 To 4
    Prelude
    A.M. Mourning
    P.M. Mourning
    Memories Of Love
    It Better End Soon (1-4 Movements)
    Where Do We Go From Here

    CD2/DVD - Chicago II: Live On Sounstage
    Movin' In
    The Road
    Poem For The People
    In The Country
    Wake Up Sunshine
    Ballet For A Girl In Buchannon
    Fancy Colors
    Memories of Love
    It Better End Soon
    Where Do We Go From Here
    25 Or 6 To 4

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    Default Re: Chicago

    Did Chicago and The Jackson 5 / Jacksons ever meet? Any group photos?

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    Default Re: Chicago

    Michael Jackson and Peter Cetera would have sounded so awesome together. I really wish they had done a duet in the 80s.

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    Default Re: Chicago

    CHICAGO : THE BILLBOARD 200 ALBUMS CHART

    01. 1969 - # 17 - The Chicago Transit Authority
    02. 1970 - # 4 - Chicago
    03. 1971 - # 2 - Chicago III
    04. 1972 - # 3 - Chicago At Carnegie Hall
    05. 1972 - # 1 - Chicago V
    06. 1973 - # 1 - Chicago VI
    07. 1974 - # 1 - Chicago VII
    08. 1975 - # 1 - Chicago VIII
    09. 1975 - # 1 - Chicago IX: Greatest Hits
    10. 1976 - # 3 - Chicago X
    11. 1977 - # 6 - Chicago XI
    12. 1978 - # 12 - Hot Streets
    13. 1979 - # 21 - Chicago 13
    14. 1980 - # 71 - Chicago XIV
    15. 1981 - # 171 - Greatest Hits Volume II
    16. 1982 - # 9 - Chicago 16
    17. 1984 - # 4 - Chicago 17
    18. 1987 - # 35 - Chicago 18
    19. 1988 - # 37 - Chicago 19
    20. 1989 - # 37 - Greatest Hits 1982-1989
    21. 1991 - # 66 - Twenty 1
    22. 1995 - # 90 - Night And Day
    23. 1997 - # 55 - The Heart Of Chicago 1967-1997
    24. 1998 - # 154 - The Heart Of Chicago 1967-1998 Volume II
    25. 1998 - # 47 - Chicago 25: The Christmas Album
    26. 2002 - # 20 - The Very Best Of Chicago: Only The Beginning
    27. 2003 - # 102 - Chicago Christmas: What's It Gonna Be Santa?
    28. 2005 - # 57 - Love Songs
    29. 2006 - # 41 - Chicago XXX
    30. 2007 - # 100 - The Best Of Chicago: 40th Anniversary Edition
    31. 2008 - # 122 - Chicago XXXII: Stone Of Sisyphus
    32. 2011 - # 170 - Chicago XXXIII: O Christmas Three
    33. 2014 - # 82 - Chicago XXXVI: Now

    CHICAGO : THE BILLBOARD 100 SINGLES CHART

    01. 1969 - # 71 – Questions 67 And 68
    02. 1970 - # 9 – Make Me Smile
    03. 1970 - # 4 – 25 Or 6 To 4
    04. 1970 - # 7 – Does Anybody Really Know What Time It Is?
    05. 1971 - # 20 – Free
    06. 1971 - # 35 – Lowdown
    07. 1971 - # 7 – Beginnings
    08. 1971 - # 7 – Colour My World
    09. 1971 - # 24 – Questions 67 And 68
    10. 1971 - # 49 – I’m A Man
    11. 1972 - # 3 – Saturday In The Park
    12. 1972 - # 24 – Dialogue (Part I & II)
    13. 1973 - # 10 – Feelin’ Stronger Every Day
    14. 1973 - # 4 – Just You ‘N’ Me
    15. 1974 - # 9 – (I’ve Been) Searchin’ So Long
    16. 1974 - # 6 – Call On Me
    17. 1974 - # 11 – Wishing You Were Here
    18. 1975 - # 13 – Harry Truman
    19. 1975 - # 5 – Old Days
    20. 1975 - # 61 – Brand New Love Affair (Part I & II)
    21. 1976 - # 32 – Another Rainy Day In New York City
    22. 1976 - # 1 – If You Leave Me Now
    23. 1977 - # 49 – You Are On My Mind
    24. 1977 - # 4 – Baby, What A Big Surprise
    25. 1978 - # 44 – Little One
    26. 1978 - # 63 – Take Me Back To Chicago
    27. 1978 - # 14 – Alive Again
    28. 1978 - # 14 – No Tell Lover
    29. 1979 - # 73 – Gone Long Gone
    30. 1979 - # 83 – Must Have Been Crazy
    31. 1980 - # 56 – Thunder And Lightning
    32. 1982 - # 1 – Hard To Say I’m Sorry
    33. 1982 - # 22 – Love Me Tomorrow
    34. 1983 - # 81 – What You’re Missing
    35. 1984 - # 16 – Stay The Night
    36. 1984 - # 3 – Hard Habit To Break
    37. 1984 - # 3 – You’re The Inspiration
    38. 1985 - # 14 – Along Comes A Woman
    39. 1986 - # 48 – 25 Or 6 To 4
    40. 1986 - # 3 – Will You Still Love Me?
    41. 1987 - # 17 – If She Would Have Been Faithful…
    42. 1987 - # 91 – Niagara Falls
    43. 1988 - # 3 – I Don’t Wanna Live Without Your Love
    44. 1988 - # 1 – Look Away
    45. 1989 - # 10 – You’re Not Alone
    46. 1989 - # 55 – We Can Last Forever
    47. 1989 - # 5 – What Kind Of Man Would I Be?
    48. 1990 - # 75 – Hearts In Trouble
    49. 1991 - # 39 – Chasin’ The Wind
    50. 1997 - # 59 – Here In My Heart

    Peter Cetera Albums

    01. 1982: Peter Cetera
    02. 1986: Solitude/Solitaire
    03. 1988: One More Story
    04. 1992: World Falling Down
    05. 1995: One Clear Voice
    06. 1997: You're The Inspiration: A Collection
    07. 2001: Another Perfect World
    08. 2004: You Just Gotta Love Christmas
    09. 2005: Faithfully
    10. 2017: The Very Best Of Peter Cetera

    The Billboard 200 Albums Chart

    Peter Cetera


    01. 1982 - # 143 - Peter Cetera
    02. 1986 - # 23 - Solitude/Solitaire
    03. 1988 - # 58 - One More Story
    04. 1992 - # 163 - World Falling Down
    05. 1997 - # 134 - You're The Inspiration: A Collection

    The Billboard 100 Singles Chart

    Peter Cetera


    01. 1983 - # 40 - Hold Me 'Til The Morning Comes (with Paul Anka)
    02. 1986 - # 1 - Glory Of Love
    03. 1986 - # 1 - The Next Time I Fall (with Amy Grant)
    04. 1987 - # 61 - Big Mistake
    05. 1988 - # 93 - I Wasn't The One Who Said Goodbye (with Agnetha Faltskog)
    06. 1988 - # 4 - One Good Woman
    07. 1988 - # 59 - Best Of Times
    08. 1989 - # 6 - After All (with Cher)
    09. 1990 - # 11 - Voices That Care (with Voices That Care)
    10. 1992 - # 35 - Restless Heart
    11. 1993 - # 71 - Feels Like Heaven (with Chaka Khan)
    12. 1993 - # 68 - Even A Fool Can See
    13. 1995 - # 86 - I Wanna Take Forever Tonight (with Crystal Bernard)
    14. 1997 - # 8 - Hard To Say I'm Sorry (with Az Yet)
    15. 1997 - # 77 - You're The Inspiration (with Az Yet)
    Last edited by Elton-Cetera; 07-05-2019 at 05:50 PM.

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    Default Re: Chicago

    https://www.billboard.com/articles/c...-critics-picks

    The 50 Best Chicago Songs: Critics' Picks

    Billboard Magazine

    It’s easy to lose a band like Chicago in the towering pile of its own achievements: 36 albums, 20 Top 10 singles on the Billboard Hot 100 (including three No. 1 hits), and 17 of its first 20 albums certified Platinum by the RIAA. But as the one of the most commercially successful American bands of all time prepares to celebrate the 50th anniversary of its debut album*Chicago Transit Authority(originally released April 28, 1969), it’s time we examined the music apart from*its statistical significance, and celebrated*the gang of deeply gifted musicians who cemented Chicago as one of the most chameleonic acts of rock’s golden age -- shifting from esoteric jazz-rock, funk and soul to an adult contemporary juggernaut.

    After combing through an overwhelming amount of recorded music --*four of the band’s first six LPs were double albums, mind you --*here’s*Billboard's*tally of the 50 best Chicago songs. They*run the gamut from deeply soulful and orchestrally tethered early contributions, courtesy of guitarist Terry Kath, keyboardist Robert Lamm, and trombonist James Pankow, to the later mega-polished super singles pumped out by bassist/singer Peter Cetera and renowned producer David Foster.

    Find your favorite song (via our Spotify playlist at the bottom of the post), blast it in your earbuds and let’s all salute a band that continues to perform before thousands of fans deep into its sixth decade of rock and horns --*and whose 50th birthday is still only the beginning.

    50. “I’d Rather Be Rich” (Chicago XIV, 1980)

    “Everything’s cool until you lose your money,” Robert Lamm sings on this slightly jaded album track --*the content of which feels prophetic considering how poorly*Chicago XIV,*which peaked at a paltry No. 71 on the Billboard 200 albums chart, sold in comparison to most other Chicago LPs. But this is a fun, jaunty song,*with a sharp tongue and vibrant accompaniment from percussionist Laudir de Oliveira (who left the band after this album). --*BOBBY OLIVIER

    49.*“Jenny”*(from*Chicago VI, 1973)

    Chicago VI, the first of five straight albums to be recorded at producer James William Guerico’s Caribou Ranch in Colorado, topped the Billboard 200 due in large part to the success of singles “Just You N’ Me” and “Feelin’ Stronger Every Day."*But a more obscure fan favorite from the record is “Jenny,” a tender song written and sung by Terry Kath about Kath’s dog with the titular name. The tune, which asks Jenny to watch over and protect Kath’s lover while he’s away, is soulful and bittersweet, considering the singer-guitarist's accidental death in 1978. --*B.O.

    48.*“Hideaway”*(from*Chicago VIII, 1975)

    Not a ton of Chicago riffs that you'd be likely to mistake for Tony Iommi at any point, but the chugging of*Chicago VIII*deep cut "Hideaway" is vicious enough that you kinda expect it to turn it into "Sabbath Bloody Sabbath" in its early minutes -- even before you get to its blistering solo. The band found the majority of their success*using a much lighter touch, and were wise to do so, but kudos to axeman Kath for showing when necessary that the band knows how to swing it. --*ANDREW UNTERBERGER

    47.*“Little Miss Lovin’”*(from*Hot Streets, 1978)

    Hot Streets*was Chicago’s great sonic shift, away from the band's defining jazz-rock mode*(following the death of Kath months earlier) in favor of disco and pop. While this change in style, which would define the group’s sound throughout the ‘80s, was derided by some fans at the time,*Hot Streets*has aged fairly well, and the jammer “Little Miss Lovin’” is convincingly propulsive pop-rock --*and if you listen closely enough, you can hear the Bee Gees singing the skyscraping background vocals. --*B.O.

    46.*“Look Away”*(from*Chicago 19, 1988)

    If you’re too good for Chicago’s post-Peter Cetera era, then you’re too cool for our list. There’s a whole lot of ‘80s shmaltz on*Chicago 19,*but this single --*the band’s only No. 1 hit on the Hot 100 without Cetera, and*Billboard's year-end*No. 1 song of 1989*--*remains a serious earworm, courtesy of prolific songwriter Diane Warren and Bill Champlin’s soaring lead vocals. Look away, baby, look away. --*B.O.

    45. “Stay The Night” (from*Chicago 17, 1984)

    [size=100]Perhaps best-remembered for its action-packed music video, "Stay the Night" was also one of the most striking singles of Chicago's early '80s pop peiod, captivating from its opening drum hits through to its staccato verse synths and melodic left turn at the chorus. Some of the song's more aggressive lyrics ("I won't take no if that's your answer") haven't aged particularly well, but the sneering chorus cry remains such a brain-sticker that the dudes in Foreigner are probably still seething at not having thought of it first. --*A.U.


    44.*“Along Comes a Woman”*(from*Chicago 17, 1984)

    Chicago’s mega-polished pop wizardry reached its zenith on*Chicago 17*--*the band’s best-selling record to date --*as all four singles cracked the Hot 100’s top 20. The fourth and final of those was*“Along Comes A Woman, a Phil Collins-esque sizzler with a hook that’s just memorable enough to make us forget about that repugnant drum machine. --*B.O.

    43.*“Gone Long Gone”*(from*Hot Streets, 1978)

    Here’s as good a place as any to pay homage to Donnie Dacus, the well-traveled rock guitarist who stepped in to fill the enormous hole left by Kath, and played dutifully on*Hot Streets*and*Chicago XIII. Dacus, who also played with John Lennon, Billy Joel, and Elton John, delivers perhaps his most memorable Chicago lick on “Gone Long Gone,” a breezy tune with a Dacus’s piercing guitar melody playing foil to Cetera’s easy vocal. --*B.O.

    42.*“Song For You”*(from*Chicago XIV, 1980)

    Chicago XIV*was the band’s lone new wave-era attempt at bucking its dance-pop approach in favor of a more introspective sound --*an experiment that, of course, did not last --*and Cetera’s intimate “Song For You” was this album’s great exemplifier. The singer's more naturally produced vocal performance is nearly unrecognizable in its lower register, but still provides a soft touch, as he promises a lover he’s “a man you can be sure of.” --*B.O.

    41.*“This Time”*(from*Chicago XI, 1977)

    Founding trumpeter Lee Loughnane might be Chicago’s greatest unsung hero. When Loughnane*wasn’t blowing his horn through all those Chicago staples, he was writing killer songs like “Call on Me,” “No Tell Lover” and this lesser-known but still very awesome track from*Chicago XI, where he sings a commanding lead vocal. Kath’s guitar rips on this one, too. --*B.O.

    40. “Never Been In Love Before” (from*Chicago VIII, 1975)

    A lovely little romantic devotional from*Chicago VIII, probably held back from single status by its shape-shifting nature -- the song takes turns sounding like Supertramp and*the Beach Boys -- though it never loses*its quintessential Chicago heart (or horns). Also perhaps hurting its case: Framing a song on the band's eighth album about never having been in love before.*Well then what exactly were all those other songs about, Peter?!??*--*A.U.


    39.*“Another Rainy Day in New York City”*(from*Chicago X, 1976)

    While*Chicago X’s second single, “If You Leave Me Now,” got most of the radio play and attention as the band’s first Hot 100 No. 1 hit, “Rainy Day” was technically the record’s lead single --*a light, calypso-leaning tune contrasting its dreary title. The trill-laden horn work here is strong, and the song has aged well as a fluttering warm-weather track. --*B.O.

    38.*“Waiting for You to Decide”*(from*Chicago 16, 1982)

    It should surprise no one that venerable producer/songwriter David Foster was in on Chicago’s shimmering ‘80s sound. He produced and co-wrote much of*Chicago 16,*and his melodic prowess can be felt on “Waiting For You to Decide,” a bounding album track that sets up the massive tracks “Hard to Say I’m Sorry” and “Love Me Tomorrow” later on the album. Pure ‘80s, Cetera-driven Chicago didn’t get much better than this. --*B.O.

    37.*“State of the Union”*(from*Chicago V, 1972)

    Perhaps it’s difficult to imagine now, but there was a time when the guys in Chicago viewed themselves as social revolutionaries, speaking out against war, politics and “the man.” “State Of The Union” is a big, feather-ruffling jam track penned by Lamm and sung by Cetera about “tearing the system down” and searching for fearless politicians to represent the common man. It an exciting song with message that is unfortunately a little too timeless. --*B.O.

    36.*“Will You Still Love Me”*(from*Chicago 18, 1986)

    'It wasn’t amicable, but it wasn’t the worst," Peter Cetera*told*People*Magazine*in 1987about his '85 departure from the group. "It’s nothing that me having a hit and them having a hit won’t make better." Done and done: Following Cetera's*Karate Kid II*power ballad "Glory of Love" going to No. 1 on the Hot 100, Chicago countered with their own lighter-waving "Will You Still Love Me." The song's brilliantly dynamic piano intro and irresistibly*falsetto'd post-chorus couldn't quite drive it to matching "Glory" on the Hot 100, but it did peak*at No. 3 in early 1987, essentially tying the score between the now Jason Scheff-led group and their departed solo star. --*A.U.

    35. “Aire” (from*Chicago VII, 1974)

    Oh, to have witnessed the confused faces of those who spun*Chicago VII*and had to wade through a solid 25 minutes of instrumentals before the vocals to finally kicked in. The band’s final double album begins with five lushly composed pieces --*the best of which is “Aire,” a sweeping number than begins with a mammoth horn solo, before taking off on Walter Parazaider’s flute and a masterful section shredded on Kath’s guitar. --*B.O.


    34.*“Movin’ In”*(from*Chicago II, 1970)

    At the peak of*their soulful early days, Chicago kicked off their blockbuster second album with this sizzling piano groover, featuring the gritty vocals of Kath at his absolute Cockeriest. "Most of all we like to play/ A song or two that makes you feel/ Like all the good in you is real," Kath belts, as*the rest of the band chimes in "We know it!"*after nearly line in ecstatic*affirmation, serving as both preacher and choir to their own gospel. --*A.U.

    33.*“Take Me Back to Chicago”*(from*Chicago XI, 1977)

    “Take Me Back To Chicago” stands as a banner soft-rock track that bleeds with nostalgia and a dynamic performance from Lamm at the microphone.*But next time you hear this third single off*Chicago XI, listen closely to the backing vocal --*that’s Chaka Khan! Hard not to also have a soft spot for the needling keyboard break turned in by David “Hawk” Wolinski on this one. --*B.O.

    32.*“What’s This World Comin’ To”*(from*Chicago VI, 1973)

    If Chicago was a hip-hop group, “What’s This World Comin’ To” would be its premier pass-the-mic banger --*as Lamm, Cetera and Kath all trade lead vocals as they wonder just what the hell is going on in this crazy world full of hunger and poverty. But the coolest moment in this song, which overflows with funk and life, comes in the first few seconds, when Kath brazenly declares, “We can cut it in any key.” Chicago needed more badass moments like these. --*B.O.

    31.*“Happy Man”*(from*Chicago VII, 1974)

    The second-side closer to the jazzier first LP of Chicago's 1974 double album is an unassuming sort of sun-baked*ditty, gliding by on a lightly samba-ing*saunter and one of Peter Cetera's most blissed-out early vocals. Yes, Cetera can't help himself from sticking in a little "skittle-ee-bee-bop!" scatting in there at the end, but he seems so delirious in his acting out the song's title character that you can't really blame him for getting caught up in the moment. --*A.U.

    30. “Wishing You Were Here” (from*Chicago VII, 1974)

    A sublime slice of gentle acoustic melancholy from its opening ocean waves, "Wishing You Were Here" proved just how evocative mid-'70s soft rock could be in the hands of the experts. Speaking of: Yep, that's Chicago tourmates the Beach Boys joining in on backing vocals for the song's interrupting refrain, splintering*each titular lament into a veritable dirty bomb of longing in five-part harmony. --*A.U.


    29.*“Hard Habit to Break”*(from*Chicago 17, 1984)

    Chicago 17*is one of the greatest pure power ballad albums of all time -- or at least from 1984 --*and “Habit” is one of the finest entries.*With a titanic melody (courtesy of songwriters Steve Kipner and Jon Parker)*and monster vocals from Cetera and Champlin, this is one of those “roll the windows up and sing it as loudly and horribly as you can” Chicago tracks, and a testament to the band’s ability to thrive in its second act. --*B.O.

    28.*“In the Country”*(from*Chicago II, 1970)

    The magic was real on*Chicago II. The level of creativity and dauntlessness in merging rock and jazz throughout this sprawling double record was just terrific, but there was a heap of soul, too, and so much of that came from Kath’s deep, impassioned wails and blistering guitar. That’s all felt in the sweeping love letter “In the Country,” where Kath sings a beautiful lead, bolstered by Cetera on backing vocal. It’s a banner conclusion to the album’s side one, setting the table for the famed “Ballet For a*Girl in Buchannon” suite that soon follows. --*B.O.

    27.*“Street Player”*(from*Chicago XIII, 1979)

    The scorching highlight of Chicago's short-lived disco phase, "Street Player" was written by Chicago's Danny Seraphine and David "Hawk" Wolinski, but originally recorded*by Rufus & Chaka Khan*for their 1978 album of the same name. Surprisingly, it's the Chicago rendition from a year later that's the much funkier version, tighter and punchier and with an absolutely killer horn hook -- one that improbably infiltrated two separate*future generations of jock jams, via pop smashes from*The Bucketheads*and*Pitbull.*--*A.U.

    26.*“Alive Again”*(from*Hot Streets,*1978)

    “Alive Again” was a reintroduction of sorts for Chicago. While the band hadn’t been away all that long —*Chicago XI*had just come out in fall of 1977 --*this was their first single released after Kath’s death, and the band’s decision to soldier on without him. “Alive Again” is a worthy, bright track written by trombonist Pankow, which showcased the band’s more pop-forward approach:*It sounds like a Fleetwood Mac*Rumours*B-side. --*B.O.

    25. “Feelin’ Stronger Every Day” (from*Chicago VI, 1973)

    One of the most buoyant breakup songs ever written, the forever open-hearted Peter Cetera co-wrote this '70s AM perennial with trombonist Pankow about "healing and moving on after the end of a relationship," which with the song's shiny horns and repeated*"Oh-ohhhh yeah!" exhortations,*he sounds positively friggin'*pumped*about. And in case you doubt that Cetera really is getting his strength back, the song goes double-time at the end, still gaining momentum right through the fade out. On to the next one, then. --*A.U.


    24.*“Lowdown”*(from*Chicago III, 1971)

    The story goes that “Lowdown” was the source of some animosity within the band; Kath was apparently unhappy with yet another songwriter in Cetera, who had*mostly only sang and played bass to this point, adding to the creative mix. He also wasn’t pleased with the guitar part written for “Lowdown" --*but for better or worse, the bounding tune became the album’s second single and one of the most beloved tracks off*Chicago III. Cetera: 1, Kath: 0. --*B.O.

    23.*“It Better End Soon”*(from*Chicago II, 1970)

    “With this album, we dedicate ourselves, our futures and our energies to the people of the revolution. And the revolution in all of its forms.” This rebellious message was written on the inner cover of the Grammy-nominated*Chicago II*album, alongside the lyrics to “It*Better End Soon,” a 10-minute long Vietnam War protest opus broken into four “movements,” all of which were sung valiantly by Kath and written by Lamm in a sort of Hendrix-meets-jazz-fusion mashup. It’s a propulsive, expansive chunk of tunage. --*B.O.

    22.*“Dialogue, Pts. I and II”*(from*Chicago V, 1972)

    A back-and-forth between Kath and Cetera about various early '70s topics that probably reflected more of the push-pull tension between the two driving forces within the band than fans may have even realized at the time, "Dialogue" was released in the midst of such a commercial hot streak for Chicago*that it hit the top 40 despite its lack of a*chorus or obvious hook. In its full two-part, seven-minute edit, it showcases the group's skill at displaying prog ambition within pop accessibility, nearly persuasive enough to have you believing their "We can change the world now... we can make it happen!" claims. --*A.U.

    21. “Beyond All Our Sorrows” (from*Chicago VI*reissue, 1973/2002)

    “Beyond All Our Sorrows” is easily the rawest track on this entire list — it’s a gritty solo demo from Kath that didn’t appear on*Chicago VI*until the set's 2002 re-release. The vocal is all soul and unbridled emotion as Kath wails over a lone piano (perhaps played himself) and reflects: “Why do I always hurt the ones I love?” If you’ve never sought out this previously unreleased tune before, loaded with power and pain, we simply urge you to do so. --*B.O.

    20. “Free” (from*Chicago III, 1971)

    Clocking in at a speedy 2:16, “Free” is the shortest track on this list, but it still packs a serious punch with Kath leading the “I just wanna be free!” chant over roaring horns and guitar. This quickie, the third of six episodes in Lamm’s “Travel Suite” on the record, was*Chicago III’s lead single in 1971 and it remains a huge fan favorite nearly 50 years later. This one goes down easy, plain and simple. --*B.O.


    19.*“No Tell Lover”*(from*Hot Streets, 1978) *

    While the lyrical content --*an ode to extramarital affairs -- hasn’t particularly benefitted from the passing years, “No Tell Lover” is still a beautifully penned number from Chicago’s transition into soft-rock nobility. Cetera sings tenderly, backed by Dacus’s easy vocal and guitar. “No Tell Lover” reached No. 14 on the Hot 100 and was Chicago’s last top 50 hit for four years, until “Hard To Say I’m Sorry” came along. --*B.O.

    18.*“Baby, What a Big Surprise”*(from*Chicago XI, 1977)

    As we enter the “monster ballads to end all monster ballads” portion of this list, let’s talk about “Baby, What a*Big Surprise,” an enduring soft-rock smash that climbed to No. 4 on the Hot 100 and notched Chicago’s final top 10 hit before Kath’s death (as well as the band’s split with longtime producer Guercio). As Cetera sings his version of “you like me, you really like me!” to an unknown lover, Beach Boys icon Carl Wilson sings the rich background vocals. Loughnane’s riveting piccolo trumpet performance is legendary here, too. --*B.O.

    17.*“Old Days”*(from*Chicago VIII, 1975)

    With an opening riff growling enough to presage Pink Floyd's*"In the Flesh,"*the biggest Hot 100 hit off*Chicago VIII*quickly turns sweetly nostalgic, with bright horns, sweeping strings and lyrics yearning for "a world gone away." That's one of the modes that Cetera and Co. have longest excelled in, though, and the distorted guitar and groaning organ backbone to "Old Days" gives it enough muscle to keep it from ever floating away on a wistful sigh. --*A.U.

    16.*“(I’ve Been) Searchin’ so Long”*(from*Chicago VII, 1974)

    “Searchin’” is not only the best song off*Chicago VII, it’s utter adult contemporary heaven. Cetera’s creamy vocal goes down like a vanilla milkshake, and it’s juxtaposed beautifully with the gloomy symphonic intro (penned by Pankow). The yearning is real, the harmonies are glorious and as Cetera pores over his own self discovery, the tune builds to an arresting, R&B-inspired place in the last minute or so. It’s a journey. --*B.O.

    15. “Make Me Smile” (from*Chicago II, 1970)

    For all Pankow’s songwriting efforts over the last five decades, “Ballet For a Girl in Buchannon” — the epic seven-part suite from*Chicago II*— is certainly among his most significant. It’s a masterstroke that leads with the buoyant track “Make Me Smile,” a booming section that was cut into a radio single and became Chicago’s first-ever Hot 100 top 10 hit. Kath unleashes a characteristically impassioned vocal here, and helped set the tone for the colossal success Chicago would enjoy throughout the ‘70s. --*B.O.


    14.*“Poem 58”*(from*Chicago Transit Authority, 1969)

    From the days when Chicago could be seen just as much as peers of Santana as of The Carpenters, "Poem 58" is -- somewhat ironically, given its title -- instrumental for most of its eight and a half minute runtime, with Kath absolutely shredding his way through the acid groove. By the time Lamm's prose enters the equation over five minutes in, the song has transitioned from a blistering rave-up to a still-hot amble, but the focus remains on the guitars, snarling their way through a jam vicious enough to turn "If You Leave Me Now" eye-rollers into true believers. --*A.U.

    13.*“You’re the Inspiration”*(from*Chicago 17, 1984)

    Whether you lived through this sappy beast’s mid-’80s ubiquity or you first heard it*as a kitschy cameo*in the 2016 superhero movie*Deadpool,*there’s no denying the immensity of the chorus --*which was originally written for Kenny Rogers, Cetera said*in a 2004 interview. “Inspiration” climbed to No. 3 on the Hot 100 early 1985 (it was bested by “Like a Virgin” and Jack Wagner’s even cheesier “All I Need”), and was a primary reason why*Chicago 17*remains the band’s best-selling album to date. --*B.O.

    12.*“Something in This City Changes People”*(from*Chicago VI, 1973)

    “Something in This City Changes People” might be the best non-single in Chicago's*catalog. It touts this sort of grayscale, melancholy vibe as Lamm, Kath and Loughnane sing magnificently of the ills of urban life. The descending “so sad, so sad” harmonies cut like a knife over Lamm’s warm, unforgettable piano melody. Oliveira rounds out the arrangement with tapping congas, completing a deeply underrated tune from the early chapters. --*B.O.

    11.*“Love Me Tomorrow”*(from*Chicago 16, 1982)

    Question: How could Chicago possibly follow up the No. 1 success of “Hard To Say I’m Sorry,” which was pretty much inescapable in 1982? Answer: With another bulletproof soft-rock jam, of course, only this time with a few more teeth. “Love Me Tomorrow” and its chest-thumping chorus were another Cetera/Foster special, full of pop life and no fat to be found. --*B.O.

    10. “Colour My World” (from*Chicago II, 1970)

    Back to “Buchannon” we go, this time hailing the suite’s fifth movement, “Colour My World,” another passage deftly sung by Kath and written by the trombonist Pankow, who used color to represent the presence of love in one’s life. Lamm’s traipsing piano part is memorable here, as is Parazaider’s searing flute solo. The story goes that Pankow conjured the arpeggiated melody while on tour and staying at a Holiday Inn --*proof that you never know where rock history might strike. --*B.O.

    9. “If You Leave Me Now” (from*Chicago X, 1976)

    The easy-listening point of no return for Chicago -- and perhaps not coincidentally, the first of their three*Hot 100 No. 1 hits. But as far as it brought the band from their Transit Authority days, "If You Leave Me Now" remains a stunning work, particularly for its efficiency -- the whole thing pivots around a*french horn riff that vascillates between just two notes, and a*piercing two-line refrain that serves as both verse and chorus. The pleas of the song are simple and heartfelt enough that any further elaboration would feel extraneous.*And when Cetera runs out of*ooh-oohs, he just sits back and let the acoustic guitars do the emoting for him. --*A.U.

    8. “I’m a Man” (from*Chicago Transit Authority, 1969)

    “I’m A Man” rumbles with more horsepower than most Chicago tunes. There’s a frenetic energy that paces this stone-cold Chicago classic (penned in part by Steve Winwood, and originally released by his Spencer Davis Group in 1967) that hits the highway*with some serious shreds from Kath on guitar, and a captivating vocal tradeoff between Kath, Cetera and Lamm. While “I’m A Man” is technically a cover, it still factors in heavily with the early Chicago canon, and the extended percussion solo turned in by Seraphine gave the song new flavor when it was released on Chicago’s seminal debut. --*B.O.

    7. “Just You N’ Me” (from*Chicago VI, 1973)

    “Just You and N’ Me” is Chicago’s greatest love song, hard stop. It’s a simple, passionate composition penned by Pankow, who says he wrote this staple after an argument with his fiancee. “We had a disagreement, and rather than put my fist through the wall or get crazy or get nuclear, I went out to the piano, and this song just kind of poured out,” Pankow recounted on Chicago’s website. “Just You N’ Me” climbed to No. 4 on the Hot 100, making it the highest-charting single from the much-beloved*Chicago VI*album (and its sheet music was used for Pankow’s wedding announcement). --*B.O.

    6. “Questions 67 and 68” (from*Chicago Transit Authority, 1969)


    Here’s where it all began. “Questions 67 and 68” was Chicago’s very first single, a triumphant inquiry penned by Lamm as he reflected an uncertain romantic relationship he experienced in the preceding years --*you guessed it --*‘67 and ‘68. The piano clangs confidently and the horns blare harmoniously here, never letting up from the moment the song kicks in. But the best parts of “Questions” just might be Cetera’s swaggy “ooh’s.” “Questions” was, of course, a harbinger of all that was to come for Chicago, but history aside, it remains a stellar jazz-rock jam. --*B.O.


    5. “Beginnings” (from*Chicago Transit Authority, 1969)

    [size=100]Like an evolved "Crystal Blue Persuasion," Chicago's second-ever A-side*(re-released more successfully two years later after missing the Hot 100 in '69)*arrives on the same bubbling bass and Sunday morning guitars as that Tommy James and the Shondells classic. But "Beginnings" is elevated by its triumphant soul vocal -- arguably Lamm's finest -- along with its brilliant use of non-verbal exclamations to convey emotions too overpowering for words, and the room it gives itself to grow as its eight-minute runtime really stretches out, building to a climax of "Only the beginning!" chants that whips the band into a near-religious fervor. Any surprise that*beginnings like this led to such a generally*unhumble career? --*A.U.

    4. “Does Anybody Really Know What Time it is?” (from*Chicago Transit Authority, 1969)

    You’d never know it today, but when Chicago entered the studio to lay down “Does Anybody Really Know What Time It Is?” --*the first song the band had ever recorded together, and an eventual classic rock staple --*they really had no idea what they were doing. “We tried to record it as a band, live, all of us in the studio at once,” Parazaider recalls*on the band’s website. “I just remember standing in the middle of that room. I didn’t want to look at anybody else for fear I’d throw them off and myself, too. That’s how crazy it got.” The guys would figure out, of course, nailing Lamm’s genre-bending anthem of late-’60s disillusionment: “We’ve all got time enough to die,” he croons, surely giving the man who had asked him for the time far more than he ever bargained for. --*B.O.

    3. “Saturday in the Park” (from*Chicago V, 1972)

    Ah, the ultimate feel-good Chicago tune and one of the band’s calling-card songs, conjured from Lamm’s interpretation of film footage he’d shot in Central Park years earlier. As he recalled to*Billboard*in 2017: “I watched the film [and] I jotted down some ideas based on what I was seeing and had experienced. And it was really kind of that peace and love thing that happened in Central Park and in many parks all over the world, perhaps on a Saturday, where people just relax and enjoy each other’s presence.” The scene Lamm sets (and gleefully sings) in “Saturday” create a miniature utopia, of people laughing, dancing, a man selling ice cream. Fans latched on to the dreamscape and boosted the "real celebration"*to No. 3 on the Hot 100 --*Chicago’s highest-charting single to that point, as well its first single to sell 1 million copies. --*B.O.

    2. “Hard to Say I’m Sorry" (from*Chicago 16, 1982)

    With disco giving way to new wave and MTV redefining rock and pop stardom early in the*decade, there was real reason to wonder if Chicago would be able to survive and thrive in the 1980s. But with a hoist from writer-producer David Foster, the band vaulted back to the top of the Hot 100 with their most undeniable ballad to date -- a piano-led plea for forgiveness whose airy production couldn't disguise the strength of the songcraft underneath, from its captivating opening line ("'Everybody needs a little time away,'*I heard her say...") right through its masterfully deployed climactic*key change. Of course, it*doesn't work the same way without Cetera's vocal excellence, giving his full chest to every "I WILL MAKE IT UP TO YOU!" promise -- but it does still work, as evidenced by the*surfeit*of*notable*covers*the song has received over the years. --*A.U.

    1. “25 or 6 to 4” (from*Chicago II, 1970)

    There’s a reason why Chicago has chosen “25 or 6 to 4” as its set closer for virtually every concert this century, including its dazzling Rock and Roll Hall of Fame induction in 2017:*It’s the band’s greatest song, a banner encapsulation of the rock, soul and horns sound that has brought the sprawling outfit immeasurable success over the last 50 years. “25,” written by Lamm during a sleepless night in Los Angeles --*he insists the lyrical content does not allude to drug use, despite decades of debate --*was Chicago’s first Hot 100 top 5 single (No. 4) and helped introduce their jazz-infused style to the mainstream consciousness. It’s a song that has endured not only on classic-rock radio, but on high school football fields, as marching bands across the country continue to favor the towering tune. But beyond the blaring brass was an unforgettable performance from Kath, who unleashed crunching hard-rock hell on this tune, plus an urgent, high-flying vocal from Cetera.*A*full-band effort from one of the greatest big-band rock acts of any era. --*B.O.

    http://ultimateclassicrock.com/chica...otogallery-1=2

    Chicago Albums Ranked Worst to Best

    20: 'Twenty 1' (1991)
    The nadir of a period that saw Chicago fruitlessly chasing their David Foster-era chart heights, Twenty 1 again found the group relying on pop-schlock songwriter Diane Warren for material – but without the results associated with the way more successful 19. Arguments over the final mix didn't help matters. Neither did the liberal use of session musicians. The emergence of grunge was simply the last straw.

    19: 'Chicago XIV' (1980)
    Bringing in producer Tom Dowd should have worked – especially after the wrongheaded, dance-influenced Chicago 13. Instead, this album is a dysfunctional mess. Columbia promptly paid Chicago a handsome sum to go away, cash the band then used to independently fund their David Foster-helmed comeback, Chicago 16. In the meantime, Peter Cetera dabbled with solo work, setting the stage for his departure.

    18: 'Chicago XXX' (2006)
    Chicago's first album of original material since 1991's 'Twenty 1' illustrated why it had taken them so long. The band seemed utterly bereft of ideas – or musical intent. Instead, XXX is dotted with Nashville ringers, and songs that alternatively feel like retreads ("King of Might Have Been," a variation on "Hard to Say I'm Sorry"; "Caroline," a new take on "Look Away") or hopeless misfires ("Feel," with its freeze-dried trip-hop beat). The comfy swing covers on 1995's Night & Day Big Band actually had more bite.

    17: 'Chicago 13' (1979)
    This album somehow went gold, based entirely on the name recognition associated with the cover image's high-rise logo. Its highest-charting single could do no better than No. 83. But 13 wasn't all bad. Jazzier asides like "Life Is What It Is" and "Aloha Mama" were simply subsumed by the instantly dated disco vibe.

    16: 'Chicago 19' (1988)
    Chicago leaned heavily on R&B-style vocalist Bill Champlin after producer David Foster's departure, but they lost the rest of their identity by turning almost completely to outside writers. Both "I Don't Wanna Live Without Your Love" and "Look Away" hit big, but they sounded little like Chicago – either in their original or remade '80s form. Too often, this album felt like its messy, computer-generated cover image: simply tossed together.

    15: 'Hot Streets' (1978)
    At this point, Chicago had gotten so far off track that they'd apparently forgotten about the whole career-defining roman-numeral thing. The whiff of disco here (including an appearance by the Bee Gees) didn't help either. Still, the LP's best moments (the rumbling "Alive Again" and lithe "No Tell Lover," both Top 20 hits) showed Chicago might be able to find a path away from Terry Kath's devastating loss, though obviously they'd never be the same.

    14: 'Chicago 18' (1986)
    This might have ranked higher, had it not been for a disastrous remake of "25 or 6 to 4" that traded Terry Kath's furious sorcery for mechanized monotony. Sure, Peter Cetera was gone, and the David Foster magic badly faded. But approachable MOR triumphs like "Niagara Falls" and "Over and Over" more than made up for the obvious conceits of "Will You Still Love Me" and "If She Would Have Been Faithful."

    13: 'Chicago XXXII: Stone of Sisyphus' (2008)
    A shelved album recorded just after their heyday as a power-ballad act, Stone of Sisyphus gained grail-like mystery when Chicago's label scrapped the project for being too adventurous. Released years later, it was revealed to be more uncommercial than necessarily experimental. That left Chicago in a no-man’s-land dichotomy where expectations worked against them either way.

    12: 'Chicago XXXVI: Now' (2014)
    Chicago's best album since the '80s, Now nevertheless is marked by a disjointed feel, owing to its lengthy gestation period over a series of on-the-road sessions. Still, the project found Robert Lamm once again taking a tough stance on "Naked in the Garden of Allah," while "Watching All the Colors" recalled the easy-going joys of his 2008 solo album, The Bossa Project. At its best, this LP reanimates the highlights of Chicago's David Foster era, with a few splashes of their early attitude to goose things along.

    11: 'Chicago XI' (1977)
    This album marked the end of two eras, as Terry Kath would soon accidentally shoot himself while Chicago split with early producer James William Guercio. But even before all this, Chicago sound like a band on the verge of breaking up. Every song here comes off like a solo project, from Peter Cetera's hit retread ballad "Baby, What a Big Surprise" to Kath's reworked concert staple "Mississippi Delta City Blues" to Danny Seraphine's deeply personal "Take Me Back to Chicago."

    10: 'Chicago 16' (1982)
    This bold step toward platinum success still boasted – in moments like the brassy finish to "Hard to Say I'm Sorry" – enough elements of what came before to make it Chicago's best David Foster collaboration. But a period of career-threatening obscurity was followed by one that found Robert Lamm, once the songwriting heart of the band, recede almost into the woodwork. The group's new, Peter Cetera-focused fans couldn't have cared less: 16 sold like nothing Chicago had ever seen, and they'd spend the next four albums trying to recreate these chart victories – with varying results.

    9: 'Chicago X' (1976)
    Chicago's turn toward more pop-oriented sounds often is brought up alongside Terry Kath's death. But the transition actually began here, on an album that included the sticky-sweet ballad "If You Leave Me Now," a song that became Chicago's first No. 1, creating an insatiable record-label appetite for more Peter Cetera ballads. Kath died two years later.

    8: 'Chicago VIII' (1975)
    Trying to recapture the layered complexity of VI, but almost totally burned out, Chicago ended up all over the map. The best of this project includes Terry Kath's "Oh, Thank You Great Spirit," a tribute to Jimi Hendrix, and James Pankow's Top 5 hit "Old Days." But Robert Lamm's "Harry Truman" couldn't get into the Top 10, and then the Pankow ballad "Brand New Love Affair" stalled at a paltry No. 61. A lengthy break followed.

    7: 'Chicago 17' (1984)
    The biggest-selling album in Chicago's history, and home to a staggering four Top 20 singles, 17 confirmed the band's place in the pop firmament for a new generation. Together with producer David Foster, they crafted a pair of No. 3 hits in "Hard Habit To Break" and "You're the Inspiration" for a standard-bearing adult-contemporary album that remains the best of the new era. Elsewhere, songs like the elegantly dark "Stay the Night" and the flinty, synth-driven "Along Comes a Woman" connected in different ways with the modern zeitgeist.

    6: 'Chicago III' (1971)
    A lengthy period on the road combined with their third consecutive double album slowed Chicago's early momentum. III emerged as less focused, more experimental and, perhaps inevitably, less appealing to a wide audience – with only the Terry Kath-sung "Free" reaching the Top 20. Peter Cetera's "Lowdown" peaked at No. 35.

    5: 'Chicago VII' (1974)
    Their last gutsy move, VII found Chicago diving headlong into jazz – presenting an early outburst of instrumentals while transforming softer-focused fare like James Pankow's Top 10 hit "(I've Been) Searchin' So Long" into intriguing flights of fancy. Band members tried their hand at different instruments and at composing. (First-timer Lee Loughnane even scored a No 6 hit with "Call on Me.") They also invited three Beach Boys into the studio for Peter Cetera's lush "Wishing You Were Here."

    4: 'Chicago VI' (1973)
    James Pankow's No. 4 smash "Just You N' Me" pointed to the softer-edged fare just over the horizon, but at this point Chicago still retained enough rock inflections to keep things interesting. Elsewhere, Robert Lamm channeled Little Feat on the chugging "Darlin' Dear," while Terry Kath's "Jenny" emerged as a heartfelt ballad. "Feelin' Stronger Every Day," co-written by Pankow and Peter Cetera, became a No. 10 hit and concert staple.

    3: 'Chicago V' (1972)
    The most concise of Chicago's early records, and their first single-album release, V was dominated by Robert Lamm – to the exclusion of songs by Peter Cetera. No matter. Lamm was at the peak of his considerable powers, producing a Top 30 hit in "Dialogue," a key album cut in "A Hit by Varese" and the No. 3 smash "Saturday in the Park," the band's biggest hit at the time. All of it combined to make this Chicago's first chart-topping LP.

    2: 'Chicago Transit Authority' (1969)
    Best known to classic-rock radio fans for Top 10 hits "Does Anybody Really Know What Time It Is?" and "Beginnings," this thunderous statement of jazz-rock purpose took in everything from the explorative ("Liberation") to the politically charged ("Prologue, August 29, 1968" and "Someday, August 29, 1968") to the aptly titled "Free Form Guitar," a Terry Kath showcase. The full scope of Chicago's genius exists in embryonic form over these two discs.

    1: 'Chicago II' (1970)
    Here's where Chicago put everything together. There's the growling beauty of "Make Me Smile," the gorgeous romance of "Colour My World," and the nervy power of "25 or 6 to 4" – and all of them became Top 10 smashes. The first of those was pulled from this album's centerpiece suite "Ballet for a Girl in Buchannon," while elsewhere Robert Lamm continued along a political bent with "It Better End Soon" and Peter Cetera began his creative ascent with "Where Do We Go From Here." This is Chicago's most complete effort.
    Last edited by Elton-Cetera; 18-05-2019 at 11:31 AM.

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    Robert Lamm * James Pankow * Lee Loughnane - 3/7 - Three-sevenths of the original members of the band Chicago will be performing at the Ottawa Jazz-Fest on June 23 at 8:30 PM.

    https://ottawajazzfestival.com/artists/chicago/

    Chicago
    CONCERT UNDER THE STARS
    Sunday June 23 @ 8:30pm, TD Main Stage


    BIO
    Featuring:

    Chicago has been hailed as one of the "most important bands in music since the dawn of the rock and roll era" - former President Bill Clinton. This rock and roll band, has a long list of lifetime achievements that include, being inducted into the 2016 Rock and Roll Hall of Fame, two GRAMMY® Awards, two American Music Awards, a star on the Hollywood Walk of Fame, a Chicago street dedicated in their honor, and keys to and proclamations from an impressive list of US cities. They’ve had top 10 singles, 5 consecutive number one albums, 11 number one singles and 5 gold singles. An incredible 25 of their 36 albums have been certified platinum, and the band has a total of 47 gold and platinum awards. From the signature sound of Chicago’s horns, their iconic vocalists, and a few dozen of ever-classic songs, this band’s concerts are celebrations. 2019 marks the band’s 52nd consecutive year of touring, without missing a single concert date.






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