I don't see any decline in the group's music from VIII (1975) through XI (1977). The band was just trying to be different from album to album. Actually, X and XI marked a mild return to form for the band which had enjoyed a relatively longer rest after a very tiring year in 1975 because of excessive touring schedule. Some says the band commercial peak was in 1975 with two no. 1 albums within a year. Chicago IX Greatest Hits would have sold even more if the band did not release redundant and unnecessary compilation albums during the 90's and the following decade. I agree with you when you said Chicago VII was the last great LP by the band but I don't rate VIII, X and XI as only good. Actually X and XI are very good (4 star out of five) albums. Kath was always one of the three primary vocalists of the band the whole time he was with the band from the beginning to XI (1977) and although he was never the dominant songwriter, he always been a consistent contributor in songwriting on every album from CTA to XI. Since other band members like Cetera (bass), Loughnane (trumpet/flugelhorn) and Seraphine (drums) started to contribute more songs for the albums from 1974-1980, there were actually no dominant songwriters in the band in the aforementioned period.
Live In Japan was recorded in 1972, actually. The issue with Carnegie Hall is the sound mix, not the actual recording. Admittedly, the album could've been mixed better
Don't get me wrong. I love VIII but X and XI are more enjoyable to listen to, at least to me. Terry Kath's contributions on those two albums are as strong such as "Mississippi Delta City Blues," "Takin' It On Uptown," "Hope For Love," and "Once Or Twice." On XI, he gave one of his best vocals performance singing Seraphine/Wolinsky suite's "Little One" and his guitar virtuosity is also very evident on such tracks as "Skintight," "Scrapbook," "You Get It Up," "Takin" It On Uptown," "Mississipi delta City Blues," "This Time," "Tale Me back to Chicago," "Baby, What a Big Surprise," etc.
And "Get in the Wind" by Illinois Speed Press (the source of the guitar riff that's played after the Walrus quote).
Not only did the original band have three lead vocalists who split the duties evenly, these three vocalists also had very distinctive voices and singing styles.
One of the worldwide Chicago fans once said "without these guys Chicago is like an expensive wine bottle void of its contents."
The Best! One of the most underrated monster guitarists of the rock era, Terry Kath, made the cover of a French music magazine.
Yes, and if you add in Lamm, Pankow, Parazaider and Loughnane, you really have some great vintage stuff!!!...
You forgot James William Guercio! Chicago became a huge commercial success in the 70's because of him.
Agree entirely. With VIII, the group was nearing its peak. Its peak would come in 1975 with If You Leave Me Now. I misspoke and wanted to correct things. Chicago's peaks: VII- artistic peak X- commercial peak
Below is a list of Chicago's Columbia album titles, year of release, US sales and chart peak position in Billboard Top 200 Album Chart: Chicago Transit Authority - 1969 - 2x Platinum #17 Chicago - 1970 - 2x Platinum #4 Chicago III - 1971 - Platinum #2 Chicago at Carnegie Hall - 1971 - Platinum #3 Chicago V - 1972 - 2x Platinum #1 Chicago VI - 1973 - 2x Platinum #1 Chicago VII - 1974 - Platinum #1 Chicago VIII - 1975 - Platinum #1 Chicago IX Greatest Hits - 1975 - 5x Platinum #1 Chicago X - 1976 - 2x Platinum #3 Chicago XI - 1977 - Platinum #6 Hot Streets - 1978 - Platinum #12 Chicago 13 - 1979 - Gold #21 Chicago XIV - 1980 - #71 Greatest Hits, Volume II - 1981 - #171
Yes 17 was their commercial peak during the band's post-Columbia period. Released in 1984 - 6x Platinum #4.
Wow! I just found this thread! There's not much I could add to the first two posts on this thread, except I don't think they second The Beatles. (How could anyone with drums as an avatar forget Danny Seraphine???) There are just too many other bands of their heyday that were on equal footing as Chicago. Their labelmates Earth, Wind & Fire, for example! As powerful as the original ensemble was, for me, the thing that gave Chicago their sound was the horn section. No doubt about it! What is it called when they do that note that starts off loud, dips low, and then gradually swoops up again? The notes they play on the instrumental break on the song "Just You 'N Me"? That's their trademark. And, maybe i'm weird, but I always liked the way the ride cymbals were recorded on the song "Feelin' Stronger Every Day". The way Danny hit the bell of the ride sounds just like I was playing it.
Agreed. They dipped after "Hot Streets", but came back with "17". Then, with Peter Cetera out, they had nothing but a string of forgettable, generic ballads...and that awful remake of "25 or 6 to 4". My wish is that one day, all of the original surviving members will finally get back together and make one last great album.
As With Genesis, I am a fan of all eras of the band, well with Chicago till Cetera left. I just can't get into the Scheff era. Even Stone of Sysyphus and the recent album of original material, both everyone says harkens back to the old days of the original band just does not float my boat
I like the original mix, but a new mix would be excellent. Or a box with each night, like the Purple Made In Japan box set
Closest thing to the old days is really the Christmas albums (notably the second one, which is the first with another half-album added)-- This at least has a live-band sound that you don't find on their mainstream albums, plus a lot of Lamm vocals and arrangements, and the return of Phil Ramone (the only producer they ever had after Guercio who fit). The big-band album was also pretty well done, odd how that one just sank.
Thanks, bRETT- I just can't get into anything big band, or Christmas if it's not a female singer- so I'd miss those as well. You are right about Ramone. Lamm disappearing more with each album was a bummer. He was their glue, of course, in the beginning
I heard a cut from that on the radio once, and remember thinking the sound wasn't far off from some of the light cuts from their early albums, like "Wake Up Sunshine."
True, but the thing that has made Chicago on top among the other similar brass-rock outfits that emerged from the late 60's and early 70's was their guitarist, the guy with a heavily-modified Fender Telecaster that sported numerous Pignose amplifier decals and other markings. I love Terry's playing, but that is a godawful ugly guitar. He made it sound a lot prettier than it looked. Clearly, we lost a great player and an underrated vocalist way too early.
