Your first purchased Chicago Music
kevin tomasello
I thought it might be interesting to hear from some people on what their first
purchased Chicago music was.
For me if I believe my friend Sydney and I walked from my house into town and
went to Furloughs five and dime and bought a 45 rpm single of "I've been
searching so long." Wow, I can't believe I remember that. My first LP
purchased was Chicago VI.
Thanks, hope to hear from more people.
Kevin
Stephen S. Cornelius
I purchased my first Chicago record in 1969 or 1970. It was "Chicago
Transit Authority". I was in high school in Chicago at the time and I
remember how "cool" the addition of brass was to a "rock band". I
purchased every album as they were released during the seventies and
early eighties. My first CD purchase was "Chicago 17". I have
subsequently replaced my favorite Chicago records with CD's (although
they are kept in a safe place).
Steve
Flute43
Steve,
My first listen and subsequently my first purchase of
Chicago was in the spring of 1970. It was a warm spring day and my 7th
grade English teacher, who was a sax player, decided to give us some
culture and play the recently released Chicago II. He started off
with,"It
Better End Soon". and it just blew me away. I immediately
went out and purchased my very own copy and all the subsequent albums up
to Chicago XI.
Unfortunately the music produced by the band after the death of
Terri Kath just isn't the same. Although I saw
them this summer for the first time in a long time and I
really enjoyed them.
Well that's my story,
Chip
Tom Lovejoy
Hi, all.
> Unfortunately the music produced by the band after the death of
> Terri Kath just isn't the same.
I hear a lot of folks say that... The first Chicago album I got was 16 (I
think I was 14 or 15 years old - I'm now 27). I have all the U.S. releases
from 16 thru N&D (I don't work hard enough to get the imports or bootlegs,
if any exist), and actually like them all (19 is my least favorite, and
it's a toss-up among the rest for most favorite). At one point, I had XIV
on tape, and loved it. Unfortunately, it was stolen from my car and I have
been unable to find it in stores again.
I had various tapes including CTA, Chicago II, and a few of other roman
numerals thrown in there, but they never grew on me (they were stolen along
with XIV). I think the main reason is the sound quality. I like to listen
to music that booms with bass, and screeches with guitar. The older
albums, due to technological limitations more than anything, just don't do
anything for me. It's just muddy-sounding music to me... (no slam on
Chicago or their early work is intended here... I'm strictly speaking of
RECORDINGS of music, not the music itself...)
If it were possible take some of their 70's stuff and redo it EXACTLY THE
SAME as they did then, but with today's recording technology, I'm sure I
would like it. I *WISH* that were possible.
Oh, well... Enough babble for now... Thanx for listening!
Tom
--
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E-mail: Tom.L...@BANYAN.UMMED.EDU
or tlov...@ziplink.net
WWW: http://www.ziplink.net/~tlovejoy
Anthony Aligo
I'm 17 years old and have every Chicago CD or CASSETTE of Chicago except
Chicago V. I bought most of them this summer. Anyway 2 years ago, I
was bored and decided to look under my parent's stero to see what kind of
music they had. I think I wanted to here "Hard Habit To Break" for some
reason. Of course I didn't know the name of the song but I remember the
beat. I found Chicago 17 and decided to look for the song. Since I
didn't know the name of the song I listened to the entire cassette.
For a few weeks I constantly listened to "Hard Habit To Break" and
"You're the Inspiration". Then by coincidence I heard "Hard To Say I'm
Sorry" on the radio and realized that chicago came out with more than one
album. I thought Chicago 17 was the only album they made. From then on
I looked more and more into the group, and ever since than I've collected
all of their work, some videos, and miscellaneous informaton. I sure
hope they release "Stone Of Sisyphus"!
Jeff Blanks
> Steve,
> My first listen and subsequently my first purchase of
> Chicago was in the spring of 1970. It was a warm spring day and my 7th
> grade English teacher, who was a sax player, decided to give us some
> culture and play the recently released Chicago II. He started off
> with "It Better End Soon", and it just blew me away.
II was my first, too, at the same time. I was _six_ years old, and my big
sister (who's just a few years older than you, BTW) owned it. _I_ got
started off with side two; "Ballet For A Girl In Buchannon" wired my brain
_permanently_ for music that demanded something from the listener. I've
gone on to totally different musical universes since then, but I think
it's safe to say that Jim Pankow enabled me to become the musician I am
now.
Kent Herrington
"Tom Lovejoy" <tlov...@ziplink.net> wrote:
<minor snip>
>I had various tapes including CTA, Chicago II, and a few of other roman
>numerals thrown in there, but they never grew on me (they were stolen along
>with XIV). I think the main reason is the sound quality. I like to listen
>to music that booms with bass, and screeches with guitar. The older
>albums, due to technological limitations more than anything, just don't do
>anything for me. It's just muddy-sounding music to me... (no slam on
>Chicago or their early work is intended here... I'm strictly speaking of
>RECORDINGS of music, not the music itself...)
My thoughts (flame away!)....
I recorded CTA thru VI from unprotected LP's to reel-to-reel back in the early
70's....on the cheapest Sony machine available, on the the cheapest Radio Shack
tape available, at the slowest speed my machine will run (3-3/4 ips, methinks).
This tape stays on the machine 11 months/yr (I allow the Christmas tape to
reside there in Dec). I have played the tape so many times in 20 years, I can
see thru the media. And I'd still rather listen to *it* than the latest CD's
my family and I enjoy listening to. Somehow, the creativity of Chicago blocks
out the scratches and skips of the old LP and the hiss of that old tape, and
even the muddy technology <g>. My kids are growing up listening to it --
imagine their telling their friends of a rock group that integrates 5/4 & 7/4
time sig's into their music. They'll be better musicians because of it.
Yea, I'm a tightwad ... and I'll suffer thru the pops and hisses to feel that
tight harmony and outrageous syncopation.
** All grammatical and spelling errors within were placed there
** to test you. Report such errors to alt.whine
Kent Herrington ====> herr...@usit.net
Tom Lovejoy
Kent Herrington <herr...@usit.net> wrote in article
<52gufd$f...@news.usit.net>...
> My thoughts (flame away!)....
I never flame anyone for their opinions, as long as it's not expressed in a
confrontational (and/or
snotty/sarcastic/profane/self-righteous/condescending) manner! :)
> I recorded CTA thru VI from unprotected LP's to reel-to-reel back in the
early
> 70's....on the cheapest Sony machine available, on the the cheapest Radio
Shack
...snip...
> Yea, I'm a tightwad ... and I'll suffer thru the pops and hisses to feel
that
> tight harmony and outrageous syncopation.
I actually envy folks like you who can do that... I'm sure my musical
character would be much different if I could get past the "pops and
hisses"... It wasn't until Night & Day that I came to appreciated some of
those "big band" classics that I've heard all my life (except for "In the
Mood", which I've liked since childhood - it was the first song I learned
to play on my grandparents' electric organ!!)... Again, in addition to the
fact that they were rearranged and "Chicago-ized," they were also recorded
in the 90's, making them enjoyable for me to listen to.
> My kids are growing up listening to it -- imagine their telling their
friends of a rock
> group that integrates 5/4 & 7/4 time sig's into their music. They'll be
better
> musicians because of it.
Ever listen to Rush? Talk about your odd time signatures!! :)
See ya...
Tom
Kent Herrington
"Tom Lovejoy" <tlov...@ziplink.net> wrote:
>Ever listen to Rush? Talk about your odd time signatures!! :)
hmmm...I hadn't thought of Rush. While I'll not in tune with their latest
sounds, those guys pull some pretty good stunts for a small band.
My roots as a former pro jazz saxophonist-wannabe may explain my defaulting to
Chicago, BS&T, Maynard Ferguson, etc. When the mood strikes me, I'll prolly
pull the ole Rush *tapes* and *albums*.
:)
Kent
*** Wanna buy some old 8-tracks,anyone? ****
Kent Herrington ===> herr...@usit.net
Tom Lovejoy
Kent Herrington <herr...@usit.net> wrote:
> hmmm...I hadn't thought of Rush. While I'll not in tune with their
latest
> sounds, those guys pull some pretty good stunts for a small band.
Yeah... What facinates me is their ability to use *ANY* instrument as the
"lead" instrument... Not just while soloing, but throughout an entire
song... Amazing...
However, there is no way that I can see to link them in any way, shape or
form to jazz... :)
Take care...
Tom
Man In Motion
When I was in 6th grade (1988/89, I'm twentyish now) "Look Away" was
quite popular. I thought it was an okay song, but nothing special.
During a VH1 Rock Block "Look Away" was followed by "Will You Still
Love Me." Jason's vocals blew me away. My brother (12 years my
senior) owned Chicago 16, 17, and 18. Over the course of that year I
borrowed and dubbed all three of those albums (I have since bought
copies of all three). The first Chicago album that I actually bought
was Greatest Hits 1982-1989. At first it was their eighties material
that I really liked, but as I grew older, my taste in music matured.
After getting Chicago IX Greatest Hits from Columbia House I was bound
and determined to get the Group Portrait. For Christmas of 1991, I
got the Group Portrait. Ever since I've taken a serious interest in
Chicago's earlier material. But it was Jason's not Peter's voice that
got me hooked!
Darrin
Chris P. Mezzolesta
DMAT...@Albion.edu (Man In Motion) wrote:
>When I was in 6th grade (1988/89, I'm twentyish now) "Look Away" was
>quite popular.
[sound of a startled Butthead]: uhUHHHHHHHHHHHHHHHH!
My son was born in '88!
My first Chicago acquisition was "CTA", which I got in 1974 or so (I
was 10), followed by the just-released "VIII". They all followed over
the next few years...up til 14 in 1980.
Mark3905
I have to agree with Darin. While I grew up with Chicago and Peter
Cetera, Jason has done a great job and, in my opinion, is just as good if
not better (at both vocals and bass) as Cetera. I do still consider
myself to be a Cetera fan, it's just that I also like Jason.
Mark3905
Does anyone know what happened to the guitarist that Chicago had with
them, up until the last tour, for about 2-4 years or so? I don't remember
his name, but he was a younger guy that was incredibly lively when it came
to guitar playing. He really picked up the band and made it lively. On
the last tour he wasn't with them. Is he out for good, or did he just
take some time off?
Paul C. Sorenson
mark...@aol.com (Mark3905) writes:
Here is an old post I saved.
:Xref: netcom.com alt.music.chicago:550
:Path: netcom.com!ix.netcom.com!howland.reston.ans.net!newsfeed.internetmci.com!in1.uu.net!news-m01.ny.us.ibm.net!usenet
:From: "Robert L." <dr...@ibm.net>
:Newsgroups: alt.music.chicago
:Subject: Dawayne Bailey's Compuserve Posting
:Date: Tue, 20 Feb 96 03:48:30 PDT
:Lines: 106
:Message-ID: <NEWTNews.824817...@ibm.net>
:NNTP-Posting-Host: slip166-72-132-82.tx.us.ibm.net
:Mime-Version: 1.0
:Content-Type: TEXT/PLAIN; charset=US-ASCII
:X-Newsreader: NEWTNews & Chameleon -- TCP/IP for MS Windows from NetManage
:I am posting below, due to overwhelming private e-mail the
:public letter that Mr. Bailey posted on Compuserve for all that
:have not seen it or do not have Compuserve.
:Public thanks to C-serve and to Bobby Lindblad the Sysop of the
:section.
:Transcript, uncut, below: enjoy everyone!!
:Rob --------------------------------------------
: < A message from Dawayne >
:Hello to everyone on Earth - My name is Dawayne Bailey - remember me?
:I'd like to thank all Chicago fans and Bailey fans who have bought my
:Private Parts CD and the cassette single of "The Living Room Of Me", as
:well as thank you for your letters through 1995. I've read many of the
:responses from you on the Internet, etc. and enjoyed reading the nice
:ones, as well as the nasty, not- so nice ones, in fact, agreeing with
:some of the nasty ones. It's so funny when you read things that are so
:false and how some people don't have a clue about the correct facts.
:One tends to feel sorry for them, as it's obvious they're in desperate
:need of a life. How could they imagine what it's like to grow up in a
:desolate non-musical environment like Kansas with Frank Zappa, Chicago
:and Jimi Hendrix posters on your wall, dreaming of getting out of there
:and moving to Los Angeles and one day after all of the countless gigs
:in biker bars, gay bars, weddings, bar mitzvahs, backing up Elvis
:impersonators in some dangerous part of town, etc., you finally get a
:break, which in my case, was in 1983 with Bob Seger and the Silver
:Bullet Band. Then again, in 1986 with Chicago.
:If people really knew you and how difficult this business can be, they
:probably wouldn't be so quick to write you off in the blink of an eye.
:As in everything in life, you can't have the good without the bad. For
:example, the night I finished putting guitars on my composition "Stone
:Of Sisyphus", I was driving home afterwards feeling so ecstatic that a
:band like Chicago was recording one of my songs and they even agreed to
:let me share the lead vocals with Robert Lamm.
:We were supposed to do the vocals the next day or so and I was in the
:most incredible mood. The minute I arrived home, I checked the message
:on my anwering machine. There was a message from my family telling me
:my father had died and I had to leave for Kansas the next day for the
:funeral and then be back 3 days later to put the lead vocals on
:"Sisyphus."
:From a great high to a great low, the blow was then softened after some
:time passed and I found out "Sisyphus" would be the title track to the
:new Chicago album. Once again, feeling very excited. Then the news,
:practically overnight, that "Sisyphus" would be put on the shelf and
:intead we were doing an album of World War II-era Big Band songs.
:Right when I was so excited about the more modern approach of our
:music, I am told we'll be wearing big, baggy suits and playing music my
:parents grew up on. I was devastated and depressed.
:That blow was then softened by the news that they would definately put
:"Sisyphus" out after doing the Big Band album and tour. Once again,
:excitement takes over until Dec. 8, 1994, I received the letter that
:said I was no longer in the band with no reasons given. I sold my
:house, lived in my van all of 1995 and played maybe three gigs in the
:year, two of which I left my headband and nail polish at home, put on a
:tuxedo and played a couple of weddings. It's now 1996 and if the story
:of Sisyphus is correct, it's time to move that stone back closer to the
:top of the mountain.
:I hope some of you will be there with me because I remember you all and
:miss you all like crazy. You, music and my children are what I've
:always lived for and I can't wait to see you again. Soon!!
:A lot of the Internet postings charged me of "stealing the
:shows","overplaying" etc. and I agree, in contrast to the more subdued
:stage presence of my "old band mates", that could be considered true.
:I just want to finalize this by saying when you've dreamed of being on
:THAT stage and you finally are able to express ALL of the passion you
:possess for playing music on instruments you've waited your whole life
:to be able to afford to buy so you can sound and play your best, I
:apologize for offending anyone, but wouldn't you go apeshit, too?
:I was considered to be too intense for Bob Seger, too as he would often
:have a request, which in his words was, "Bailey, I don't know where you
:are but would you please return to earth?" Do I have to? I've mixed
:my interests in archeology and astronomy with music and even though
:discovering something old and new is beyond exciting, it can get lonely
:out there.
:Maybe you'll join me. Peace and God Bless You All,
:Love, Dawayne Bailey
--
Paul C. Sorenson
pau...@netcom.com
Triple R3R
The guitarists name was DeWayne Bailey and his contract wasn't renewed -
reasons unknown. I saw him several times and thought he was incredible
too. Best since Terry Kath in the group.
Randy
Grover Hysteria
I wouldn't go so far as to say Jason is better than Peter. I don't think you
can really compare the two. In recent years Jason has really evolved. He
started out singing the old Cetera standbys like Cetera, and Jason can't sound
like Peter, no matter how hard he tries. He's his own person. When he started
singing more like himself, putting his own stamps on the old Cetera standbys he
really improved. Sometimes I prefer Peter's throaty voice, sometimes I prefer
the more nasal tone of Jason. At any rate the only thing they really have in
common is that they can both harmonize well with Bill (case in point: compare
the vocal harmonies in "Hard Habit to Break" on Chicago 17 with the vocal
harmonies in "I Believe" on Chicago 18 and "Holdin' On" on Chicago Twenty-1).
M.I.M.
Electronic Beagle
In article <54ou5a$q...@newsbf02.news.aol.com>, trip...@aol.com says...
I saw the band in Toronto in '92 (I think, it was the year before I moved out
of Toronto). Bailey was a great guitarist, but he was dressed like he was a
member of Guns 'n' Roses and somehow went to the wrong show. Looked just a
tad out of place.
Arley Roberts