Chicago "Chicago 17" (1984): Track by Track!

<v Speaker 1>This is your old Valcy.
<v Speaker 2>And it's time listen Jason.
<v Speaker 3>Andy Ca.
<v Speaker 1>Okay, so we're gonna be talking about a horn band
<v Speaker 1>to day called Chicago Transit Authority.
<v Speaker 4>That's right, that's right. It's just you and me, and
<v Speaker 4>I'm feeling stronger every day. D This is gonna be
<v Speaker 4>like a Saturday in the park and instead of wishing
<v Speaker 4>you were here, it's gonna be like the old days.
<v Speaker 4>And I know we said we're gonna start it two o'clock,
<v Speaker 4>but does anybody really know what time it is? It
<v Speaker 4>could be twenty five or sixty four. So today we're
<v Speaker 4>gonna be talking about the mighty Chicago.
<v Speaker 1>That was a heck of an introduction. Thanks for taking
<v Speaker 1>us back to the beginnings.
<v Speaker 4>You know, we gotta start somewhere, So welcome to the
<v Speaker 4>Shirley You Can't be Serious podcast. Everybody. Today we're talking
<v Speaker 4>about the album Chicago seventeen seventeen seventeen.
<v Speaker 1>Have we ever talked about the seventeenth album of any band? Nope,
<v Speaker 1>not yet, I don't think so. This is it isn't
<v Speaker 1>like this is a nineties album. This is the eighties.
<v Speaker 1>So this band started way back in the sixties.
<v Speaker 4>In the sixties and really hit their second win, like
<v Speaker 4>their second stride mid eighties with MTV and all that stuff.
<v Speaker 1>Yeah, so I hit up my dad since this was
<v Speaker 1>an older band, and I remember him playing Saturday in
<v Speaker 1>the Park when we got our first like synthesizer keyboard
<v Speaker 1>that weighed two hundred pounds and he was playing things
<v Speaker 1>with the little you know, samba drum beats and stuff
<v Speaker 1>like that. I can remember him playing Saturday in the
<v Speaker 1>Park on this thing, and so I just was like, oh,
<v Speaker 1>I should hit that up. I'm like, hey, did you
<v Speaker 1>enjoy the band Chicago? And he was like, I like
<v Speaker 1>their music, but I couldn't tell you a single band
<v Speaker 1>member's name or what any of them look like. And
<v Speaker 1>I was like, well, there's a reason for that. They
<v Speaker 1>didn't put their faces on virtually any of their albums,
<v Speaker 1>at least for the first I don't know.
<v Speaker 4>Ten or so absolutely by design.
<v Speaker 1>Yeah, they were a group as a group, there was
<v Speaker 1>no leader. It was a democracy, and around about nineteen
<v Speaker 1>eighty four that kind of change.
<v Speaker 4>That definitely changed. And the interesting thing is that the
<v Speaker 4>horn guy and the trombone guy and the woodwind guy
<v Speaker 4>are like, hey, we're leaders.
<v Speaker 1>Yeah, mmm, are you? Though? We could play the keyboards
<v Speaker 1>and the guitar if you want, and that's what they did. Okay.
<v Speaker 1>But so for those of you who are not Chicago
<v Speaker 1>huge fans, I mean just I'll ask you this question,
<v Speaker 1>can you name me a member of Chicago. If you
<v Speaker 1>said Peter Satara, I'll say, congratulations. He hasn't been with
<v Speaker 1>a band in about fifty years sorry, forty years. Forty
<v Speaker 1>years yes, And then if you can, if you can
<v Speaker 1>pull out Terry Cath, I'm gonna say, okay, almost fifty
<v Speaker 1>years for pretty good yep, yep. But most people don't
<v Speaker 1>know any of the names of these guys, so I'm
<v Speaker 1>just gonna throw it out all right. The original lineup,
<v Speaker 1>we have Terry Cath on guitar, Robert Lamb on keyboards,
<v Speaker 1>Lee Locknane on trumpet, James Pankout on trombone, Walter Perizidor
<v Speaker 1>on woodwinds, and Danny Sarafin on drums. Now, not too
<v Speaker 1>long after they these guys got together and really started going,
<v Speaker 1>they were joined by Peter Setera on bass.
<v Speaker 4>Like six months or so.
<v Speaker 1>Yeah, so basically we could consider him a founding member
<v Speaker 1>as well. I would say that, yeah, And it was
<v Speaker 1>essentially the founding members for the first fifteen sixteen years
<v Speaker 1>of their existence. And the deal was when you shook
<v Speaker 1>hands to join the band, it was you're in until
<v Speaker 1>you quit or you die. We will never fire you
<v Speaker 1>quote will never fire you.
<v Speaker 5>You know.
<v Speaker 4>Well, we'll see if that holds true throughout the eighties.
<v Speaker 1>Okay, before we get rolling, I just gotta throw it
<v Speaker 1>a couple of tidbits on these guys, just so that
<v Speaker 1>they gives them some personality, all right. So Robert Lamb,
<v Speaker 1>he was he was the main songwriter at the beginning
<v Speaker 1>of the band, had like fifty songs in a notebook
<v Speaker 1>when they started back in their early twenties. Yeah. He
<v Speaker 1>went to Brooklyn Heights and performed in the men's choir
<v Speaker 1>at Grace Episcopal Church. Another member of that choir was
<v Speaker 1>Harry Chapin Catching the Cradles Silverspoon House. Yep. All right,
<v Speaker 1>So there's your tidbit on Robert Lamb as an after
<v Speaker 1>this album tidbit and this is for you, def Dave.
<v Speaker 1>He with Jerry Beckley of the band America and Carl
<v Speaker 1>Wilson of the band The Beach Boys, formed a trio
<v Speaker 1>to play together after Wilson's death from lung cancer. In
<v Speaker 1>ninety eight, they released an album that was entitled Like
<v Speaker 1>a Brother. Oh cool, yep, I love it. And then
<v Speaker 1>last for James Pankow. Yes, all right, here's tidbit on him.
<v Speaker 1>He is the older brother of John Pankow. Do you
<v Speaker 1>know who that is? Did you watch Mad About You
<v Speaker 1>the TV show? Yes? Yeah? Remember Ira Buddy? Yeah, well
<v Speaker 1>that's his brother. Whoa Yeah, So there you go.
<v Speaker 4>That is fantastic. Yeah wow, okay man.
<v Speaker 1>We'll have a lot more information on Terry cath and
<v Speaker 1>Peter Satara as the episode goes on. But I just
<v Speaker 1>thought we need some little tidbits for these guys to
<v Speaker 1>give him some life.
<v Speaker 4>Absolutely, the faces and the names have been hidden from
<v Speaker 4>us for too long. And actually, I want to tell
<v Speaker 4>you this. I was really excited to get into this
<v Speaker 4>because this was a album that I owned. I had
<v Speaker 4>a cassette and actually it's on our wall. Were checking
<v Speaker 4>off another one of our wall.
<v Speaker 1>Who was a gift did this give? Was this a
<v Speaker 1>gift for us?
<v Speaker 4>I think I bought that one.
<v Speaker 1>That one?
<v Speaker 4>All right, good job, But it was always a mystery
<v Speaker 4>to me because I entered at Chicago seventeen. Where's Peter Stara.
<v Speaker 4>Why isn't he with the band anymore? Why is he solo?
<v Speaker 4>Did they fire him? Did he quit? What happened?
<v Speaker 1>Have you seen karate Kid two? Yes?
<v Speaker 4>Right, So well for us to dive into this, I
<v Speaker 4>was really pleased to find out kind of the story. Yeah,
<v Speaker 4>before we get started on the first song, I want
<v Speaker 4>to give quick overview of this album. Like we said,
<v Speaker 4>there are sixteen albums prior to this, and I do
<v Speaker 4>kind of want to go through the albums and talk
<v Speaker 4>a little bit about their hits and kind of yeah,
<v Speaker 4>because there's ups and downs and it's kind of dramatic
<v Speaker 4>the way that kind of goes. But it's their fourteenth
<v Speaker 4>studio album, their seventeenth album overall. Right, Not every album
<v Speaker 4>was called Chicago Wan, Chicago two, Chicago three. There were
<v Speaker 4>some different names in between, but they still counted them.
<v Speaker 4>This was released May fourteenth, nineteen eighty four. We're comparing
<v Speaker 4>it next week to Survivor Vital Signs, which is another
<v Speaker 4>band from Chicago.
<v Speaker 1>How about that? There you go.
<v Speaker 4>This album sold six point one million albums, won three
<v Speaker 4>Grammy Awards, and this group as a whole has sold
<v Speaker 4>over one hundred million albums total.
<v Speaker 1>Billboard magazine ranked them as the number thirteen thirteen in
<v Speaker 1>a list of the top one hundred artists of all time,
<v Speaker 1>and they rank them as ninth on the list of
<v Speaker 1>the hundred greatest artists of all time on the Billboard
<v Speaker 1>two hundred album chart.
<v Speaker 4>It's incredible, you know. In nineteen seventy one, thirteen years
<v Speaker 4>before we talked about this album, they sold out Carnegie
<v Speaker 4>Hall for a week.
<v Speaker 1>First time any band has ever done that. It's incredible. Yeah,
<v Speaker 1>all right, We're ready to dive in. Let's dive in.
<v Speaker 1>Song number one on Chicago seventeen.
<v Speaker 4>This song is called stay the Night.
<v Speaker 3>This unstand.
<v Speaker 1>Says time. All right.
<v Speaker 4>So this is the reason why I ran out and
<v Speaker 4>got this tape, this song. I fell in love with
<v Speaker 4>this song right off the bat, yep. And part of
<v Speaker 4>the reason why it had a super cool video on MTV. Okay,
<v Speaker 4>so watch the video.
<v Speaker 1>Yes I did, and it's I mean, it's so it's
<v Speaker 1>nineteen eighty four. Yeah, so this comes out just after
<v Speaker 1>Thriller had come out, right, and so I think the
<v Speaker 1>video directors we moved on from guys who had just
<v Speaker 1>finished beer commercials, who were recording Journey, not playing their
<v Speaker 1>instruments but air guitaring two guys who actually knew what
<v Speaker 1>they were doing, creating a story. This one's it's decent.
<v Speaker 1>It seemed to be a running theme that the rock
<v Speaker 1>stars were guys who worked on cars and as mechanics
<v Speaker 1>in the videos. I don't know why that was always
<v Speaker 1>the thing, but somehow the hot girls always liked the
<v Speaker 1>guys working on the cars.
<v Speaker 4>Yes, of course they did.
<v Speaker 1>And so this one is interesting because you got Peter
<v Speaker 1>Setera making out with this girl and he then she's
<v Speaker 1>like pushing his hand away from getting to third base,
<v Speaker 1>and then she's pushing his hand away from getting a
<v Speaker 1>second base. Thank he got close to he was going
<v Speaker 1>for cuppage.
<v Speaker 3>Man.
<v Speaker 1>There was a little jiggle. It was so close. And
<v Speaker 1>then all of a sudden she's slapping his face and
<v Speaker 1>stealing his car, and he's chasing after either her the car.
<v Speaker 1>I'm not entirely sure which one it is.
<v Speaker 4>Okay, so this is the I've got to talk about
<v Speaker 4>this because I absolutely love this video because you're right,
<v Speaker 4>he's a mechanic, he's working on a car. She is
<v Speaker 4>hot as a firecracker. Her name, by the way, is
<v Speaker 4>Ingrid Anderson. She's been in the movie Hercules with our
<v Speaker 4>good buddy Loof Forrigno.
<v Speaker 1>I was gonna say, are we talking about the Loof
<v Speaker 1>frigg the iconic, the underrated, the cult classic. Yes, the
<v Speaker 1>dubbed dubbed over Hercules? Huh that's it? Oh my gosh.
<v Speaker 4>So she stars in Hercules. Her name is Ingrid Anderson,
<v Speaker 4>and she was paid ten thousand dollars to come in
<v Speaker 4>and let Peter Stara feel her up, jumps in the
<v Speaker 4>red convertible car whatever it is, she peels out. He
<v Speaker 4>chases after her, and the guys in the Chicago band
<v Speaker 4>have this really cool blue pickup truck it is He
<v Speaker 4>hops in the back, and so I thought it was interesting.
<v Speaker 4>The director of the video was given the task of
<v Speaker 4>making Chicago relevant on MTV, and he's like, well, these
<v Speaker 4>guys are not spring chickens. How can I do that?
<v Speaker 1>Right? I mean, these guys are born in the in
<v Speaker 1>the forties, mid forties, and this is the mid eighties,
<v Speaker 1>which means their late thirties early forties, they're pushing forty.
<v Speaker 4>And he's like, well, if I make this incredibly exciting
<v Speaker 4>car chase, MTV will have to play it.
<v Speaker 1>Of course, And guess what they did.
<v Speaker 6>He did, and they did.
<v Speaker 1>Yeah, absolutely, But at the end I thought it was hilarious.
<v Speaker 6>You know.
<v Speaker 4>First of all, they smashed through a billboard that says
<v Speaker 4>Chicago seventeen.
<v Speaker 1>On it whatever, its plastic moment, yes.
<v Speaker 4>And the band guys are driving him all over the
<v Speaker 4>place and he's chasing her and at the very end
<v Speaker 4>the truck explodes, like yeah, like C four goes on.
<v Speaker 4>It was like cub Louis.
<v Speaker 1>Yeah, it was. I mean it was obviously just sitting
<v Speaker 1>still and way in but still it was a memorable
<v Speaker 1>moment for a music video for sure.
<v Speaker 4>Right, they tried to cut it so we didn't notice
<v Speaker 4>the car was not moving. And then Peterstair is lying
<v Speaker 4>on the ground outside of the ambulance and it looks
<v Speaker 4>like he just got done grilling burgers. He's like not
<v Speaker 4>hurt at all. And then Ingrid Anderson gets in the
<v Speaker 4>ambulance and very twilight zone.
<v Speaker 1>She's I want to see something scary. Yeah, yes, yeah, no,
<v Speaker 1>it's great, and he half of the video he is
<v Speaker 1>hanging on to the car door as she's driving full
<v Speaker 1>speed down the highway. Now I was sitting here thinking, well,
<v Speaker 1>that's obviously a stuntman. There are some scenes where you
<v Speaker 1>can clearly see his face. I mean, I know they
<v Speaker 1>probably had him tied on pretty tight, but I wouldn't
<v Speaker 1>want to be doing that four year old dude.
<v Speaker 4>They don't make movies this good anymore. Oh, it was exciting,
<v Speaker 4>It was, It really was so anyway. So this song
<v Speaker 4>is released April eighteenth, just ahead of the release of
<v Speaker 4>the album of nineteen eighty four. It reached number sixteen.
<v Speaker 4>I got out in these.
<v Speaker 1>For me, all right.
<v Speaker 4>So a lot of these are sort of touching, sheerly,
<v Speaker 4>you can't be serious type of stuff here.
<v Speaker 1>So sure.
<v Speaker 4>Number nine is a song called you Can't Get what
<v Speaker 4>you Want, You can't.
<v Speaker 1>Always get what you want?
<v Speaker 4>But a rolling stone string? Yeah, I don't recognize that one, alrighty.
<v Speaker 4>Then you've got Sister Christian.
<v Speaker 1>Which we've talked about in detail.
<v Speaker 4>Yeah, it's a Miracle by Culture Club right almost Paradise
<v Speaker 4>Love It talked about Footloose. Number eleven is Borderline by Madonna.
<v Speaker 4>Number ten His Eyes Without a Face by Billy Idol.
<v Speaker 1>Talked about that one. Check out our Billy Idol episode.
<v Speaker 4>Number nine, Oh Sherry by Steve Perry, Great number eight
<v Speaker 4>when Doves Cry, Oh nice? Yeah, Number seven Jump from
<v Speaker 4>My Love by the Pointer Sisters. Number six Heart of
<v Speaker 4>Rock and Roll by Huey Lewis.
<v Speaker 1>And the News. Gosh, what a chart is this?
<v Speaker 4>Number five Self Control by Laura Brannigan.
<v Speaker 1>Oh wow, yeah, I know you love that. I do
<v Speaker 1>love it, yes.
<v Speaker 4>Number four Dancing and Dark by Bruce Springsteen.
<v Speaker 1>It's fantastic.
<v Speaker 4>Number three Let's here for the Boy off the Philus soundtrack, huh.
<v Speaker 4>Number two Time after Time by Cindy Lapper, and number
<v Speaker 4>one The Reflex by Duran.
<v Speaker 1>Duran, shut up like this will I will give me
<v Speaker 1>this as a mixed CD and I'm gonna listen to
<v Speaker 1>it for the next month.
<v Speaker 4>Summer of eighty was off the chart.
<v Speaker 1>There are no other than the song that sounds like
<v Speaker 1>the Rolling Stone song that I don't know which I
<v Speaker 1>probably if I heard that song at this point and
<v Speaker 1>be like, oh that song just just not ringing a bell.
<v Speaker 1>But out of sixteen, fifteen of them are all timers, right, yes,
<v Speaker 1>absolutely awesome. What a great what a great time to
<v Speaker 1>be alive.
<v Speaker 4>I know right by the way, I've got one, I've
<v Speaker 4>got two nuggets I gotta drop on you regarding this song.
<v Speaker 4>So I'm listening to this. It's very rock. Oh yeah, right, yes,
<v Speaker 4>you have the gated drum at the beginning, that's true. Yeah,
<v Speaker 4>So guess who's playing drums on this?
<v Speaker 1>Is it?
<v Speaker 4>Not Danny Sarafin, Not Danny Serafin, David Foster's like you're
<v Speaker 4>on the bench, I'm bringing in my guy.
<v Speaker 1>Jeff Picaro shut up really yep?
<v Speaker 4>Okay, yeah, which we've talked about them being like the
<v Speaker 4>best of the studio musician.
<v Speaker 1>Jeff arguably the greatest strummer of all time.
<v Speaker 4>Right, and the guitar there's like a heavy metal guitar
<v Speaker 4>solo in the middle of this. Yes, no French horns
<v Speaker 4>by the way, No sorry horns in this song. Sorry
<v Speaker 4>old time Chicago people.
<v Speaker 1>Yeah, but I looked up that guy.
<v Speaker 4>His name is Chris Pinnock.
<v Speaker 1>Okay.
<v Speaker 4>He was a studio guy, not a lot, but he
<v Speaker 4>did write the music for a movie called My Mom's
<v Speaker 4>a Werewolf, which I've got to check out now.
<v Speaker 1>So I'm really glad you dug that deep boy rabbit hole.
<v Speaker 1>If I ever heard one. One more thing for you.
<v Speaker 4>The director of this video, his name is Gil Bentman.
<v Speaker 1>Okay.
<v Speaker 4>Now, he directed episodes of Night Writer and The Fall Guy.
<v Speaker 1>Oh fantastic, Yes, I can see that absolutely, right, Yeah, absolutely,
<v Speaker 1>it may be the exact names. It's perfect, right, No,
<v Speaker 1>that's great.
<v Speaker 4>He also directed a movie called Crystal Heart.
<v Speaker 1>Who I've heard of that? Is that ring all with you?
<v Speaker 1>Is it like a Cinemax movie? Yes it is.
<v Speaker 4>It was a Sumac's favorite of me and my buddies.
<v Speaker 1>Uh huh, because yes.
<v Speaker 4>It starred the lovely Tawny Katine, who was not fully
<v Speaker 4>clothed for half the movie.
<v Speaker 1>So wow.
<v Speaker 4>Anyway, but we should probably talk about how this song
<v Speaker 4>was written by Peter Seta yep, and David Foster. Yeah,
<v Speaker 4>David Foster is really a big player in this album.
<v Speaker 1>Yeah, so you know this band, and we'll talk about
<v Speaker 1>the history of this band as we're going through. But
<v Speaker 1>they had had a great deal of success in the seventies,
<v Speaker 1>definitely a seventies band. By the time we get to
<v Speaker 1>Chicago fourteen, they've run their course. They are all, if
<v Speaker 1>not currently addicted to drugs, rehabbing themselves from being addicted
<v Speaker 1>to drugs. The music is suffering, and Columbia just says,
<v Speaker 1>we're not going to make another album for you. We'll
<v Speaker 1>buy you out of their out of your contract, and
<v Speaker 1>so so that gets us because of the contract they
<v Speaker 1>had with them, they had to do one more album.
<v Speaker 1>That had Colombia had to release one more album, which
<v Speaker 1>is why Chicago fifteen is a greatest Hits album, Okay, right,
<v Speaker 1>And then that leaves them without a record label for
<v Speaker 1>their sixteenth album, and they don't know what to do.
<v Speaker 1>But who should step in? But our old friend Irving
<v Speaker 1>as Off. So Irving as Off had just the Eagles
<v Speaker 1>had just broken up a little while before this. If
<v Speaker 1>you don't remember Irving azof, go back and check out
<v Speaker 1>our Eagles episode. He managed to somehow keep them from
<v Speaker 1>getting arrested despite the fact that they had maybe pounds
<v Speaker 1>of marijuana on them at the airport. And they were like,
<v Speaker 1>if he can do that, he can do anything. And
<v Speaker 1>then they break up, and so he starts his own
<v Speaker 1>independent label and he's like, you know what, Columbia may
<v Speaker 1>not believe in Chicago, but I believe in Chicago. And
<v Speaker 1>so he says, guys, I'm gonna hook you up here.
<v Speaker 1>We're going to get this young and upcoming producer is
<v Speaker 1>on fire right now. He plays well, he produces well,
<v Speaker 1>and he writes well. His name is David Foster, that's right,
<v Speaker 1>And so We've talked about David Foster before when we
<v Speaker 1>talk about John Parr.
<v Speaker 4>John Parr the Saint Elmo's fire Man in Motion song.
<v Speaker 1>Right, he hit your subscribe button, by the way, because
<v Speaker 1>we will be kind of covering Saint Almost Fire a
<v Speaker 1>little bit later on this season. There you go Sant
<v Speaker 1>Almost Fire versus The Breakfast Club, The Plan, Rat Pack Movies. Guys,
<v Speaker 1>you can't miss that. Hit the subscribe button, all right, yeah, okay,
<v Speaker 1>So anyway, yes, he and John Parr get together and
<v Speaker 1>write Man in Motion and it's a smash. It is.
<v Speaker 4>You and I talked before we were doing this. We
<v Speaker 4>both saw the same interview with him where he's like,
<v Speaker 4>I'm great.
<v Speaker 1>I know, I'm great.
<v Speaker 4>You don't get sixteen Grammys without being great.
<v Speaker 5>I know.
<v Speaker 1>He literally has the sixteen Grammys behind him, and he's like, okay, guys,
<v Speaker 1>where are we going to set up for the interview. Yeah,
<v Speaker 1>we're gonna step in front of my sixteen Grammys? Can
<v Speaker 1>you see right here behind me?
<v Speaker 4>But you know what, he's not wrong.
<v Speaker 1>It ain't bragging if you can do it righthy gosh. Yeah.
<v Speaker 1>So yeah, So David Foster, he listened. They got thirteen songs. Right,
<v Speaker 1>and they play him each of the songs and when
<v Speaker 1>they're done, he said, they all suck. He said, in
<v Speaker 1>listening to it, it was one boring song after another.
<v Speaker 1>He said, you guys have forgotten who you are. You
<v Speaker 1>are not the Chicago that I grew up with. You're
<v Speaker 1>not the Chicago that I loved listening to in the seventies.
<v Speaker 1>You got to find who you are. And when he
<v Speaker 1>said that, what he really meant was, I'm going to
<v Speaker 1>make you back into something great. It's not going to
<v Speaker 1>be the same as who you were. But he was
<v Speaker 1>integral to their charting success for Chicago sixteen, which, irving
<v Speaker 1>Azof's small record label, was a part of the Warner label,
<v Speaker 1>and so that was helpful in getting sixteen out there.
<v Speaker 1>Which of then, I mean, they're like a phoenix from
<v Speaker 1>the asses on sixteen and suddenly they're relevant again. They're
<v Speaker 1>making videos and we get this album, Chicago seventeen.
<v Speaker 4>You know, when you look at the story of Chicago,
<v Speaker 4>you know who It really reminds me of Heart.
<v Speaker 1>Okay, you know we talked about Heart.
<v Speaker 4>Earlier this year. You've got a one of a kind voice.
<v Speaker 4>They're not writing great songs, so what do you do
<v Speaker 4>you come in and you say, let's pump up the songs,
<v Speaker 4>Let's get some cool videos, let's get you back in
<v Speaker 4>front of people, remember who you are, and let's go
<v Speaker 4>conquer this thing again.
<v Speaker 1>Right all right?
<v Speaker 4>Second song on the album. This song is called we
<v Speaker 4>Can Stop the Hurting.
<v Speaker 1>Okay, what are your thoughts?
<v Speaker 4>I think it's fun. It's a toe tapper. I think
<v Speaker 4>it sounds like old Chicago.
<v Speaker 1>This is definitely more it's the old Chicago lyrically and musically,
<v Speaker 1>but instrumentation wise, they've they've definitely got there. They're bringing
<v Speaker 1>the up a little bit. Well, it's I don't I
<v Speaker 1>want to say polished, It's just that it's they've got
<v Speaker 1>the synthesize, they've got the It sounds to be like, partially,
<v Speaker 1>if not fully, a drum machine. It's very early eighties instrumentation.
<v Speaker 1>And honestly it's not my favorite. This maybe my least
<v Speaker 1>favorite song on the whole album. It's kind of a
<v Speaker 1>toe tapper. Yeah. Then this is. The lead singer on
<v Speaker 1>this one is Robert Lamb, and he, like I said,
<v Speaker 1>had written a majority of their songs at the at
<v Speaker 1>the inception of the band. Obviously, you've got plenty of
<v Speaker 1>different songwriting going on throughout their history. But yeah, he was.
<v Speaker 1>He was struggling with some addiction in this part too,
<v Speaker 1>and basically they said it was hard to get him
<v Speaker 1>to show up, and he admitted he was like, I
<v Speaker 1>just didn't want to come, did not want to come
<v Speaker 1>to the recording sessions. Really, yeah, it's crazy. Yeah.
<v Speaker 4>I did see an interview with Peter Seto when they
<v Speaker 4>were asking him, you know that they were people were
<v Speaker 4>interviewing him. They're like, do you talk to any of
<v Speaker 4>those guys anymore? He's like, he's like, well, you know
<v Speaker 4>how when you get a divorce hang out with your
<v Speaker 4>ex wife very much?
<v Speaker 1>We don't.
<v Speaker 4>Yeah, he goes, I do talk to Robert Lamb on occasion,
<v Speaker 4>and for me at least, I was like.
<v Speaker 1>Okay, well maybe maybe sure maybe. Yeah. So there's that.
<v Speaker 4>I got a couple of tidbits for you on this song. Okay, okay,
<v Speaker 4>So this song was written by Robert Lamb and Bill Champlin.
<v Speaker 4>If you don't know who he is, he's the guy
<v Speaker 4>who sings the other part on Heart Habit to Break,
<v Speaker 4>which we'll talk about here in a minute. Yep, Okay,
<v Speaker 4>I did read that background vocals on this song and
<v Speaker 4>others on this album provided you by Donny Osmond.
<v Speaker 1>Nice and Richard Marx of course, right man, Richard Marx
<v Speaker 1>is everywhere. It is everywhere, everywhere. So these guys, I
<v Speaker 1>think you have to you know, you got seven member band.
<v Speaker 1>I can't give you the history of every guy and
<v Speaker 1>what they all went through, but I think you got
<v Speaker 1>to start with Terry Cath. Terry Cath was basically the
<v Speaker 1>band leader of this band. He started. His first kind
<v Speaker 1>of semi professional band was a band called the Mystics,
<v Speaker 1>which he started in nineteen sixty three. Then he went
<v Speaker 1>on to a band called Jimmy Rice and the gentle
<v Speaker 1>One in sixty five, and then he switched to a
<v Speaker 1>band called Jimmy Ford and the Executives and he was
<v Speaker 1>playing bass for them. Now he is arguably one of
<v Speaker 1>the greatest guitar players of all time, referred to by
<v Speaker 1>Jimmy Hendricks as the greatest guitar player in the universe.
<v Speaker 1>That's crazy, right, That's that's incredible. Like I mean, I
<v Speaker 1>just i'd be like, okay, I can kill me now,
<v Speaker 1>like right whatever.
<v Speaker 4>I've achieved it all.
<v Speaker 1>Whatever. So even though the name of the band was
<v Speaker 1>Jimmy Ford, and the executives. Terry was the kind of
<v Speaker 1>the leader of the musical direction of the band. And
<v Speaker 1>it's in that band, you know. Jimmy Ford was a trumpeter,
<v Speaker 1>and he had Walter Perizaider as a saxophone player. And
<v Speaker 1>then a little while later they picked up Danny Sarafin
<v Speaker 1>as the drummer. Okay, and then they decided to merge
<v Speaker 1>with another band, and they were like, hey, Terry, Walter, Danny,
<v Speaker 1>you're fired, really freaking fired the founding members of what
<v Speaker 1>would be Chicago.
<v Speaker 4>Wow, make sure I understand this. The So there's another band,
<v Speaker 4>and they fired all the guys who would eventually sell
<v Speaker 4>one hundred million albums.
<v Speaker 1>That's correct. Yes, Jimmy Ford and the executives merged with
<v Speaker 1>Little Artie and the Pharaohs to produce, and then they
<v Speaker 1>fired the guys who are one of the greatest selling
<v Speaker 1>bands of all times. And the guitarist what he told them,
<v Speaker 1>He's like, it's just business. It is bad business. You
<v Speaker 1>just made a bad business decision. So Terry joins a
<v Speaker 1>cover band called the Missing Links. He gets a Parisider
<v Speaker 1>and Sarafin to come join him. They start playing clubs
<v Speaker 1>in Chicago on a regular basis, and they've got friends
<v Speaker 1>at De Paul University where they go to school, including
<v Speaker 1>the trumpeter Lee Lucknane, and they're like, hey, come sit
<v Speaker 1>in with the band because we need a trumpeter. Yep.
<v Speaker 1>So another guy that would sit in the band was
<v Speaker 1>a guy named James William Garcio that he would become
<v Speaker 1>their producer manager. Guy yes, And so Garcia gets a
<v Speaker 1>offer to play with this band called Illinois speed Press
<v Speaker 1>and moved to Los Angeles and he says, Terry, I
<v Speaker 1>want you to come with me, and Terry's like, I'd
<v Speaker 1>rather stay with these guys. I like what we're doing here,
<v Speaker 1>and so he stayed with Peris Aider and Saraphine and Locknane,
<v Speaker 1>and they recruit James Pankow who's also from DePaul, and
<v Speaker 1>they also recruit Robert Lamb and you can see as
<v Speaker 1>the pieces are coming and coming that eventually this band
<v Speaker 1>forms to what they would call themselves, the Big Thing.
<v Speaker 1>And then they hire a guy named Peter Seterra who
<v Speaker 1>is playing with a band called the Exceptions. At that
<v Speaker 1>point they moved to LA they changed their name to
<v Speaker 1>the Chicago Transit Authority, and they signed with Columbia Records.
<v Speaker 1>I love it.
<v Speaker 4>I love it, and I've got a history that I
<v Speaker 4>want to talk to you about. The interesting thing to
<v Speaker 4>me when they changed their name to Chicago Transit Authority
<v Speaker 4>nineteen sixty eight, they put out one album as CTA
<v Speaker 4>in the name of the album too, that's right, Yeah,
<v Speaker 4>Chicago Transit Authority. They actually have have to change their
<v Speaker 4>name because the actual Chicago Transit Authority threatens.
<v Speaker 1>To sue them. Yeah, guys, you, what are you doing?
<v Speaker 1>We're a thing. You can't be the thing that we're
<v Speaker 1>the thing. And they're like, Okay, I guess.
<v Speaker 4>Calling ourselves the thing we're not.
<v Speaker 1>Yeah, well, I guess we'll be Chicago. We keep getting
<v Speaker 1>calls wanting to know when we're going to play next. Okay,
<v Speaker 1>we're a transportation company, not a band.
<v Speaker 4>Please, we have nothing going on this Saturday in the park.
<v Speaker 4>I'm telling you, Okay, let's go on. The next song
<v Speaker 4>this is.
<v Speaker 1>One you might have heard of, maybe if you have
<v Speaker 1>heard of Chicago or music or the United States. This
<v Speaker 1>song is called hard Habit to Break.
<v Speaker 3>I guess the fun Forever another I chose to c.
<v Speaker 7>You don't know about chicot until Let's go And I'm
<v Speaker 7>fucking out.
<v Speaker 4>Skaters move out to the middle of the dance floor.
<v Speaker 1>You know, I didn't go to my first school dance
<v Speaker 1>until nineteen eighty nine, and I could still say with
<v Speaker 1>confidence I can remember slow dancing with this song.
<v Speaker 4>Oh my god, I told you today. This song just
<v Speaker 4>sounds like cheap perfume and Hickey's This is This is
<v Speaker 4>a junior high dance sway Hall of Famer.
<v Speaker 2>Now takes a lot of caddies.
<v Speaker 3>She love to live with it.
<v Speaker 4>Robert, I'm not saying that I solved some of the
<v Speaker 4>mysteries of the broadclasp to this song, but I'm not
<v Speaker 4>not saying it. Yeah, this song was written Get This
<v Speaker 4>by a guy named Steve Kipner and John Lewis Parker. Okay,
<v Speaker 4>did those name ring any bells to you?
<v Speaker 1>They do, but I don't remember what. Okay.
<v Speaker 4>Steve Kipner is responsible for the hit songs heart Attack,
<v Speaker 4>Twist of Fate, and Physical by Olivia Newton John very
<v Speaker 4>Good yes, right ye, also Genie in a Bottle by
<v Speaker 4>Christina Aguilera. Okay, right, hit Baker right well. He paired
<v Speaker 4>up with a guy named John Lewis Parker to write
<v Speaker 4>this song, which is a number three Smash and John
<v Speaker 4>Lewis Parker is responsible for the original Chips theme before
<v Speaker 4>the Cool.
<v Speaker 1>One, before the Allen Sevestri one.
<v Speaker 4>That's exactly right, because else Sylvester took over.
<v Speaker 1>Right.
<v Speaker 4>He also wrote the theme song for the TV show
<v Speaker 4>Parker Lewis Can't Lose, Okay, and the Family Feud song.
<v Speaker 4>So literally, you take the guy who wrote the theme
<v Speaker 4>song to Family Feud and you match him up with
<v Speaker 4>the guy who wrote Genina Bottle and you get hard
<v Speaker 4>Habit to Break.
<v Speaker 1>It's beautiful, that's fantastic.
<v Speaker 4>This song hits number three on the charts. Okay, do
<v Speaker 4>you want to know the top songs on this week.
<v Speaker 1>And number two or We're going to go through all
<v Speaker 1>the top live.
<v Speaker 4>So I wanted to tell you the top two, but
<v Speaker 4>I had to just blow through these real quick.
<v Speaker 1>Okay.
<v Speaker 4>Number nine's Purple Rain. We've covered that one.
<v Speaker 1>Yeah.
<v Speaker 4>Number eight is On the Dark Side by John Cafferty.
<v Speaker 1>Yeah, we've covered that one. Cover that one on Patreon episodes, Guys,
<v Speaker 1>go check out our Patreon page. It is patreon dot com.
<v Speaker 1>Slash Shirley podcast. We cover all of the one hit wonders,
<v Speaker 1>including On the Dark Side and for a little five
<v Speaker 1>bucks a month you get access to all of those episodes.
<v Speaker 1>You can join for free and see what we're talking about.
<v Speaker 1>We have a lot of good conversation with it, and
<v Speaker 1>if you up your tier and support us a little
<v Speaker 1>bit more, we'll send you presents. Heck, we may even
<v Speaker 1>invite you to Shirley Fast next year.
<v Speaker 4>We appreciate all of our patrons, thank you very much.
<v Speaker 4>In fact, Travis Laslie Patreon, I remember came on and
<v Speaker 4>did the The on the dark Side Patreon, one.
<v Speaker 1>Of our very first listeners and a dedicated fan. Great
<v Speaker 1>guy like chefs. Yep. Yeah.
<v Speaker 4>Number seven is covered Me by Bruce Springsteen. Number six
<v Speaker 4>is Drive by the Cars. Number five is Let's Go
<v Speaker 4>Crazy by Prince. Number four Lucky Star by Madonna. Number
<v Speaker 4>three is Hard to Have It to Break. Number two
<v Speaker 4>is Caribbean Queen, which I know you hate but I
<v Speaker 4>love Gosh.
<v Speaker 1>I think I feel like I feel about Billy Ocean
<v Speaker 1>the way you feel about Stevie Wonder. I think that's
<v Speaker 1>what that's our that's what our connection is there.
<v Speaker 4>Speaking of the number one song in America, I just
<v Speaker 4>called to say I love you Hey. The worst song
<v Speaker 4>of the eighties, no song he.
<v Speaker 1>Had brand Newcassio keyboard to play with.
<v Speaker 4>Hey, remember Phil Collins threw some shade at Stevie Wonder
<v Speaker 4>on that particular song because it won the Grammy over
<v Speaker 4>against all odds. But Phil was like, he didn't write
<v Speaker 4>that for that movie. He just gave him a song.
<v Speaker 1>Yeah, that's right. This song was.
<v Speaker 4>Released July second, nineteen eighty four. Like I said, Reach
<v Speaker 4>number three, nominated for four rents.
<v Speaker 1>This song is incredible. It's iconic. Probably the tenth pole
<v Speaker 1>of the whole album in my opinion. I got it.
<v Speaker 4>I got it in the ondeck circle. It's it's it's
<v Speaker 4>up there for sure. But there's one more I would
<v Speaker 4>put on the.
<v Speaker 1>I can understand where You're I understand where you're coming
<v Speaker 1>from on that. By the way, guys, just for clarification,
<v Speaker 1>this album is still to date and this is one
<v Speaker 1>of the greatest selling bands of all times. This is
<v Speaker 1>their biggest selling album. Incredible stuff. Yeah, it's amazing.
<v Speaker 4>Okay, just a couple of little tidbits on the music video.
<v Speaker 1>Okay, not a great video. It's real dark.
<v Speaker 4>Guys are kind of spotlighted while they're singing. It's a
<v Speaker 4>duet between Peter Seta and Bill Champlain, which I think
<v Speaker 4>Bill Champlin's got a great voice, right, And then you
<v Speaker 4>have a few meaningless people in like negligees doing nothing
<v Speaker 4>people I mean girls, Okay, you know, of course, because.
<v Speaker 1>I mean it was the eighties and there's no no story.
<v Speaker 1>Put some girls in some skimpy neglige.
<v Speaker 4>Is no story. But there are cute sexy girls in
<v Speaker 4>this all right, Okay, okay. Next song on the album
<v Speaker 4>is a song called only.
<v Speaker 7>You we Can tell Me.
<v Speaker 1>Okay, So this song has made me discover that I
<v Speaker 1>do not have a taste for eighties jazz. This is
<v Speaker 1>a very jazzy piece. The horns, I mean, and even
<v Speaker 1>if even with the Chicago horns. And don't get me wrong, folks,
<v Speaker 1>I love the seventies horn heavy Chicago. We'll get in
<v Speaker 1>the eighties, and you give me synthesizers with very Christine like,
<v Speaker 1>almost synthesizer sounding horns. It ain't my bag, man.
<v Speaker 4>You know, I understand that. But as I have gone
<v Speaker 4>through these past couple weeks listening to this album, this
<v Speaker 4>song has taken a hold on my heart. Okay, So
<v Speaker 4>I like it. It is jazzy, it is kind of
<v Speaker 4>it feels like it might belong on like Toto four
<v Speaker 4>or something like that.
<v Speaker 1>Yeah, an episode of Moonlighting maybe.
<v Speaker 4>Yeah, I wrote down in the movie Mannequin, like you know,
<v Speaker 4>she's dancing around.
<v Speaker 1>On the mall or whatever. Yeah, I could see that.
<v Speaker 4>Yeah, okay, So let's go back to LA in nineteen
<v Speaker 4>sixty eight when Chicago Transit Authority is in LA. They're
<v Speaker 4>performing at the Whiskey.
<v Speaker 1>A go go, I got a story about that. Can
<v Speaker 1>I tell you that story? Yeah? Okay, So they're relatively new,
<v Speaker 1>but they are up and coming, right, they're playing some shows, right,
<v Speaker 1>and who else is big at that time? Jimmy Hendrix
<v Speaker 1>and Janis Joplin. And Janis Joplin has her entourage with
<v Speaker 1>her as she comes into I probably think it was
<v Speaker 1>the Whiskey and Walter Paris aider is sitting down and
<v Speaker 1>she drops a brush, I think, in front of him,
<v Speaker 1>and she's like, you're going to pick that up or what?
<v Speaker 1>And he said, no, I'm not going to pick it up.
<v Speaker 1>You're going to pick it up, and after you pick
<v Speaker 1>it up, you're gonna tell me you're sorry for talking
<v Speaker 1>to me like that. I love it. And she picked
<v Speaker 1>it up and she said I'm sorry. And after that
<v Speaker 1>she and the guys from Chicago became very close. They
<v Speaker 1>credit her with teaching them how to work the crowd
<v Speaker 1>while on stage. She had this incredible stage personality and
<v Speaker 1>she gave them advice about how to entice the crowd
<v Speaker 1>bring him a lively show. So credit that to Janice
<v Speaker 1>Joplin being rude and then saying she's sorry, I love it.
<v Speaker 1>It's fantastic.
<v Speaker 4>Yeah, the little guy from the South Side of Chicago
<v Speaker 4>pick up my brush.
<v Speaker 1>Yeah, that's fantastic. All right.
<v Speaker 4>So the first album from Chicago, this is Chicago one
<v Speaker 4>Chicago Transit Authority, right. It has the single does anyone
<v Speaker 4>really know what time it is?
<v Speaker 3>As I was walking down the street?
<v Speaker 2>Well, they.
<v Speaker 4>No, I've got my dad listening. I know you so
<v Speaker 4>hooked at this point.
<v Speaker 1>Oh dude, it's a fantastic song.
<v Speaker 4>It is fantastic. That's actually Robert Lamb singing that song.
<v Speaker 1>Yeah. Okay.
<v Speaker 4>The next year they released Chicago two.
<v Speaker 1>Right, which was actually just Chicago, but this was on
<v Speaker 1>the before and after the Chicago Transit Authority called them
<v Speaker 1>up and said, stop using our name, stupid, right, So
<v Speaker 1>they they called this one originally just called it Chicago,
<v Speaker 1>but everybody kind of knows this as Chicago too, right.
<v Speaker 4>The single off that album is twenty five or six
<v Speaker 4>to four.
<v Speaker 1>Yeah, well they had make Me Smile to start with,
<v Speaker 1>and then yeah, twenty five I have and six to
<v Speaker 1>four is what really brought them up. I think they
<v Speaker 1>hit the top ten with that one quickly.
<v Speaker 4>I'm just gonna blow through. The Chicago three comes out
<v Speaker 4>in nineteen seventy one. I didn't recognize anything off Chicago three.
<v Speaker 4>Then they have an album called Chicago at Carnegie Hall,
<v Speaker 4>and then in nineteen seventy two you have Chicago five.
<v Speaker 4>The big hit off of that one is Saturday in
<v Speaker 4>the Park Love It Say?
<v Speaker 1>Thank my dad played? I think I said that my
<v Speaker 1>dad played that one all the time. Okay.
<v Speaker 4>The sixth album came out in nineteen seventy three. That
<v Speaker 4>has Just You and Me and feeling stronger every day.
<v Speaker 1>Okay, So do you do you know the story behind
<v Speaker 1>Just You and Me? I do not. I almost hate
<v Speaker 1>to do this because I feel like, maybe we go
<v Speaker 1>back to these albums and cover them later, but just
<v Speaker 1>in case, I'll retell the story if we did, if
<v Speaker 1>we ever do that, all right, So, James Pankau had
<v Speaker 1>he was dealing with the drug situation. He had a
<v Speaker 1>fiance and had was back home with her. They get
<v Speaker 1>an argument about something, I don't know what it was,
<v Speaker 1>and there's not getting along, and she locks herself in
<v Speaker 1>the bathroom and he's like, come on, come out, come on,
<v Speaker 1>come on, come out. And he's like, I don't know
<v Speaker 1>what came over me, but I was like, screw it.
<v Speaker 1>And he kicked the door off and kicked it in right,
<v Speaker 1>kicks the door, and he says, at that moment, he
<v Speaker 1>sees like a look of terror on his fiance's face,
<v Speaker 1>like he is. He's like, she's in fear for her life,
<v Speaker 1>and all of a sudden that makes him like realize
<v Speaker 1>what he's done, and he's he steps back immediately and
<v Speaker 1>he's just standing there, not knowing what to do. Walks
<v Speaker 1>over the piano, fortunately hits record on the tape recorder
<v Speaker 1>next to the piano, and literally the song comes out
<v Speaker 1>of him. Never played a note of it before, but
<v Speaker 1>almost from beginning to end, the entire song comes out.
<v Speaker 1>He walks back to the bathroom where his fiance is
<v Speaker 1>still sitting terrified on the edge of the toilet and
<v Speaker 1>pushes play song plays. She stands up, They embrace and
<v Speaker 1>all this forgiven. Wow. Yeah, that's fantastic, good story. Yeah,
<v Speaker 1>love it.
<v Speaker 4>So off of Chicago seven, you got I've Been Searching
<v Speaker 4>So Long, which reached number nine, Wishing You Were Here,
<v Speaker 4>which hits number eleven, and Call on Me hits number six,
<v Speaker 4>you got some powerful singleses.
<v Speaker 1>Are on fire. Absolutely, they are.
<v Speaker 4>Crushing it in the seventies and they're just pumping out
<v Speaker 4>hit after hit. Yeah okay, and then Chicago eight comes
<v Speaker 4>out next you have Old Days Harry Truman and brand
<v Speaker 4>New Love Affair. I don't really recognize those, but they're
<v Speaker 4>still selling album Dad Yelling, My Dad yelling Hill the
<v Speaker 4>radio again okay. And then right after that they released
<v Speaker 4>their ninth album that is the first of the Chicago
<v Speaker 4>Greatest hits that's actually considered Chicago nine Okay, yep, that's
<v Speaker 4>the one where they're all they're kind of painting it's
<v Speaker 4>real famous. Oh right, right, like everybody's parents had that
<v Speaker 4>in the seventies.
<v Speaker 1>Right, Yeah, great, a great album cover. Finally, the guy's
<v Speaker 1>pictures are on the album cover instead of just the
<v Speaker 1>iconic logo of Chicago. That's right.
<v Speaker 4>Yeah, no, you didn't really talk about that. Why did
<v Speaker 4>they not have their faces on the albums.
<v Speaker 1>Well, I mean, honestly, they they kind of wanted their
<v Speaker 1>faces on the album. This was this was their This
<v Speaker 1>was their manager's decision that, hey, we don't we needed
<v Speaker 1>this is a band, this is seven member band. We
<v Speaker 1>can't possibly have all of these faces on there and
<v Speaker 1>do them all justice. So we're just going to say no,
<v Speaker 1>We're just going to put the name Chicago and it's
<v Speaker 1>recognizable that font. It's fantastic. I wish I could come
<v Speaker 1>up with a logo that good and that timeless, like
<v Speaker 1>it's never going to change.
<v Speaker 4>I saw an interview with them where they felt like
<v Speaker 4>the management was actually trying to keep them down by
<v Speaker 4>not showing their face. Sure that way, if you you know,
<v Speaker 4>if you suck, you're out of here. We replace you,
<v Speaker 4>and nobody notices, right, I know that there were some
<v Speaker 4>hard feelings there. Sure, All right, now, I want to
<v Speaker 4>talk briefly about Chicago ten. Okay, because this is where
<v Speaker 4>you have a fracture in what transpires with the band. Okay, Yes,
<v Speaker 4>So in nineteen seventy six, you have a song that
<v Speaker 4>is released that hits number one, and that song is
<v Speaker 4>called if you leave Me.
<v Speaker 2>Now, If You'll take it.
<v Speaker 1>Now, If you were a Chicago fan in nineteen seventy
<v Speaker 1>six and you heard this song, you might go, this
<v Speaker 1>doesn't sound like my Chicago. This is a vallad, this
<v Speaker 1>is a love song. What is this?
<v Speaker 4>I think all of the guys would agree it's a
<v Speaker 4>beautiful song, But I'm not sure they were all excited
<v Speaker 4>about what happened with this song.
<v Speaker 1>Yeah, I mean this one is Peter Setaria's first real song.
<v Speaker 1>Like he's been singing with the band, obviously, but this
<v Speaker 1>he hadn't written a lot. He had just been a
<v Speaker 1>bass player and okay bass player, not a great bass player,
<v Speaker 1>and okay bass player who had a good voice, and
<v Speaker 1>so yes, he fits in the piece of the larger puzzle.
<v Speaker 1>But he comes to them with this song and they
<v Speaker 1>can't deny how good the song is. It's just not
<v Speaker 1>their style, right, But they always said, you know, if
<v Speaker 1>somebody comes with a song, we're gonna give it like Toto, right,
<v Speaker 1>we will give it our best. We're not I am
<v Speaker 1>going to say you do that on your solo project.
<v Speaker 1>You know, we will all play as best we can
<v Speaker 1>on your song, even if we don't really like it ourselves.
<v Speaker 1>And most of them didn't like it. Turns out the
<v Speaker 1>rest of the world disagreed with the band.
<v Speaker 4>That's exactly right. This song hits number one in October
<v Speaker 4>of nineteen seventy six. Yeah, and from this moment on
<v Speaker 4>they went from being a horn band to like ballad Town.
<v Speaker 4>Ballad Town, that's a good name for it. Yes, let's
<v Speaker 4>shift back to Chicago seventeen and go on to the
<v Speaker 4>next song. Okay, this song is called Remember the Feeling.
<v Speaker 3>Shadows Hiding what I could See.
<v Speaker 1>Okay, whether you like ballad Town or you don't like
<v Speaker 1>ballad Town, this song is freaking awesome. It's beautiful. I
<v Speaker 1>can't believe this wasn't a single. I can't believe I
<v Speaker 1>was not dancing with my hands on the hips of
<v Speaker 1>some girl in ninth grade at the school dance taking
<v Speaker 1>this song right, because this is another panty dropper.
<v Speaker 4>It is fantastic and you're right beautiful. How did this
<v Speaker 4>not get released as a sing I have no idea.
<v Speaker 4>When I'm listening to this. I was driving in my
<v Speaker 4>car today and I'm listening to the lyrics. I'm thinking
<v Speaker 4>people should play this at weddings and stuff. I mean,
<v Speaker 4>it's so sweets great.
<v Speaker 1>Oh my Gosha.
<v Speaker 3>Comes from it was it to be.
<v Speaker 1>So this is another one written by Peter Setara and
<v Speaker 1>Bill Champlain. Peter Stara, of course, is singing this song.
<v Speaker 1>I still can't figure out how this did not I
<v Speaker 1>mean with it, with the record companies as obsessed with
<v Speaker 1>they were with them being a ballad town band. How
<v Speaker 1>do they not release this? I don't know. I don't know.
<v Speaker 4>This song needs to be heard by more people.
<v Speaker 1>It does. It's incredible.
<v Speaker 4>Okay, man, love it. I was in my car today,
<v Speaker 4>I'm like, liquid joy, liquid joy.
<v Speaker 1>Okay.
<v Speaker 4>So after Chicago ten, you have the release of Chicago
<v Speaker 4>eleven in nineteen seventy seven.
<v Speaker 1>So original follow me on this if you can. Okay.
<v Speaker 4>Then they have a song called Baby What a Big Surprise?
<v Speaker 6>Baby like a big sad.
<v Speaker 4>This is another Peter Sata song. It's another ballad town
<v Speaker 4>song and guess what, it.
<v Speaker 1>Blows it up, blows it up.
<v Speaker 4>And I was thinking about this, I'm like, you know,
<v Speaker 4>I knew some of the guys had hard feelings about
<v Speaker 4>the direction that they were going, but it's kind of
<v Speaker 4>hard to be mad when you're making money and you're
<v Speaker 4>being successful, and you're being recognized and all these things
<v Speaker 4>are happening.
<v Speaker 1>For you. Yeah, Le's they had a drug habit to feed.
<v Speaker 4>That's right, that's right. And you know I also saw
<v Speaker 4>him Peter Stare talking about that. He's like, you know,
<v Speaker 4>people thought we were clean cut and good guys, and
<v Speaker 4>you guys, we were doing as much drugs as anybody.
<v Speaker 1>Yeah. Yeah. Their producer actually built a ranch for them
<v Speaker 1>to produce albums on, literally secluded from the rest of
<v Speaker 1>the world, but not so secluded that the local college
<v Speaker 1>kids couldn't come over and party with them and bring
<v Speaker 1>all of the best marijuana, cocaine and LSD anything like that,
<v Speaker 1>And they had a bank account at their disposal at
<v Speaker 1>that point. It seemed like a good idea at the time, right.
<v Speaker 4>You know, Just a little tidbit on that particular studio.
<v Speaker 4>The last album recorded there was a contemporary Christian classic
<v Speaker 4>by Amy Grant, and then it burned down.
<v Speaker 1>Oh wow, oh my gosh.
<v Speaker 4>Okay, now, then, between Chicago eleven and Chicago twelve, we
<v Speaker 4>have another major thing that impacts the future and direction
<v Speaker 4>of Chicago. Yeah, why don't you tell us the story
<v Speaker 4>of Terry Cath.
<v Speaker 1>Okay, So, Terry was a guy. I mean, so first
<v Speaker 1>we've established that he is arguably one of the greatest
<v Speaker 1>guitar players of all time. For Jimmy Hendrix to say
<v Speaker 1>that you have to go, well, why why did he
<v Speaker 1>say that? So he grew up. He started playing banjo
<v Speaker 1>when he was a kid, but he had his mother
<v Speaker 1>played the banjo, so he learned that from her. His
<v Speaker 1>brother played I believe, the drums. He learned that, then
<v Speaker 1>he picked up the guitar. I mean he basically he
<v Speaker 1>could play anything. But his musical taste was also included
<v Speaker 1>jazz and big band and all of these other different
<v Speaker 1>genres of music, which made him an incredibly well rounded guy.
<v Speaker 1>He had. His voice was this kind of soulful thing
<v Speaker 1>that people would compare to Ray Charles. His guitar playing
<v Speaker 1>was mirrored that of Jimmy Hendrix plus and he was
<v Speaker 1>the driving force behind the band because his personality was
<v Speaker 1>such that he live life on full throttle all of
<v Speaker 1>the time right. And he loved riding fast on motorcycles.
<v Speaker 1>He loved drinking, he loved doing drugs, and he loved
<v Speaker 1>shooting guns. He was a hunter and a fisher and
<v Speaker 1>he knew his way around guns, and all of those
<v Speaker 1>things came together in a tragic moment. He was at
<v Speaker 1>a party with one of the road crew, a guy
<v Speaker 1>named Donnie Johnson, and basically they've not don Johnson, not
<v Speaker 1>don Johnson, Donnie Johnson, donn it was done. Yeah, but anyway,
<v Speaker 1>so it's wee hours of the morning, most of the
<v Speaker 1>people have left. Terry gets out one of his guns
<v Speaker 1>and starts cleaning it, and Donnie says, Terry, you've been
<v Speaker 1>up for like hours, it's been a rough night. Maybe
<v Speaker 1>don't clean your gun right now, And he, to show
<v Speaker 1>Donnie that he knows what he's doing, takes the clip
<v Speaker 1>out of the gun and he says, look, it's not
<v Speaker 1>even look at the clips, not even loaded. Pulls the
<v Speaker 1>trigger to show that it's not loaded. Well, when the
<v Speaker 1>clip's not in it, the trigger won't fire. But there's
<v Speaker 1>one in the chamber that he doesn't know about. Yeah.
<v Speaker 1>He puts the clip back in, puts it to his
<v Speaker 1>head to show him that they're that it's not loaded,
<v Speaker 1>pulls the trigger, which works this time, and the one
<v Speaker 1>in the chamber ends his life.
<v Speaker 4>Codem all right, hit stop on your tape player, kick
<v Speaker 4>it out, flip it over for side two of Chicago seventeen.
<v Speaker 4>This song is called Along Comes a Woman I Love
<v Speaker 4>the song. I love this song. Oh it's great, great
<v Speaker 4>pop song.
<v Speaker 1>It takes me right back to nineteen eighty five, it
<v Speaker 1>really And so this one's got another video. I say,
<v Speaker 1>turn and look over here. I'm like, there it is
<v Speaker 1>right there. There's the Raiders poster right over there over
<v Speaker 1>your shoulder. No, this is I mean, you know, Raiders
<v Speaker 1>is based upon like the old Humphrey Bogart movies. And
<v Speaker 1>basically they kind of said, well, you know, Raiders of
<v Speaker 1>the Lost Arc was great, Let's do a video like that,
<v Speaker 1>but let's do the throwback to the Humphrey Bogart style.
<v Speaker 1>So it's all in black and white. Do you remember
<v Speaker 1>the TV show The Wombles from the eighties.
<v Speaker 4>I do not.
<v Speaker 1>I didn't figure that you did. So the guy who
<v Speaker 1>directed the video is a guy named Jay Duban, and
<v Speaker 1>he also directed The Wombles, which I also had not
<v Speaker 1>heard of. But I don't know that he's done anything else. Okay, step,
<v Speaker 1>but this is a fun little video for a guy
<v Speaker 1>who hasn't done anything else this.
<v Speaker 4>So, yes, we've talked several times. I think Hungry Like
<v Speaker 4>the Wolf is a based on Raiders of the Lost Ark. Sure,
<v Speaker 4>this is absolutely based on Raiders of the Lost Ark
<v Speaker 4>and it transitions into Casablanca.
<v Speaker 1>Yeah. Right.
<v Speaker 4>So the director you mentioned, Jay Dubin who did the Wombles, Okay.
<v Speaker 4>He also did Get Ready to Have Your Socks Blown
<v Speaker 4>Off Here?
<v Speaker 1>Okay.
<v Speaker 4>So he did Uptown Girl, Tell Her About It the
<v Speaker 4>Longest Time, those videos by Billy Joel Nice. He did
<v Speaker 4>Private Eye. I Can't go for that and You Make
<v Speaker 4>My Dreams Come True by Holland Oates Okay, okay. He
<v Speaker 4>also did the Joe Piscopo Special.
<v Speaker 1>Okay. I guess that was before anybody figured out that
<v Speaker 1>Joe Piscopo wasn't funny, right.
<v Speaker 4>He did the Diceman Cometh, the Andrew Dice Clay Special okay,
<v Speaker 4>and he also did Tiffany at Disney World.
<v Speaker 1>Hey got to take the work when you Hey, I,
<v Speaker 1>I mean, I would not complain if that is my
<v Speaker 1>directing career. I wouldn't be happy with that, That's right.
<v Speaker 1>That's right.
<v Speaker 4>So this song was released February of nineteen eighty five.
<v Speaker 4>It reaches number fourteenth. This is the fourth single and
<v Speaker 4>the final single with Peter setis the singer.
<v Speaker 1>Yeah It's crazy.
<v Speaker 4>By the way, in this video, I looked who is
<v Speaker 4>the woman. Oh yeah, yeah, I wanted to know who
<v Speaker 4>the woman is. Okay, so no real strong Well, nothing
<v Speaker 4>verifiable on the internet about who she actually is, but
<v Speaker 4>the urban legend is that it's Dorothy Mays. I showed
<v Speaker 4>you a picture of Dorothy Mays.
<v Speaker 1>You did she forgot to bring her clothes.
<v Speaker 4>That would be miss July nineteen seventy nine.
<v Speaker 1>Uh huh, she's studying, sure is.
<v Speaker 4>I couldn't nail it down. I really wanted to pin
<v Speaker 4>that down on her.
<v Speaker 1>But I would tell you whether I thought it was
<v Speaker 1>the same girl in the video or not, but I
<v Speaker 1>can't remember what her face looked like. Oh my gosh.
<v Speaker 4>By the way, the week that this song tops out
<v Speaker 4>at number fourteen on the Hot one hundred, yep, you're
<v Speaker 4>packed full of incredible songs, but at the top and
<v Speaker 4>like immovable as we are the.
<v Speaker 1>World of course. Okay, So co writing credit on this
<v Speaker 1>one Peter Setara and a guy named Mark Goldenberg. Mark
<v Speaker 1>Goldenberg also co wrote Automatic by the Pointer Sisters. Oh
<v Speaker 1>I love this song. Yeah, it's great. An another great
<v Speaker 1>song from the eighties.
<v Speaker 4>From eighty forty five right around the same time. Yeah, exactly,
<v Speaker 4>very good, all right, fun song, fun video.
<v Speaker 1>Absolutely love it. Yeah, so before we get to here, right, Okay,
<v Speaker 1>So I got I've talked about Caleb multiple times. Right,
<v Speaker 1>he's my head banging, hard hitting football Loven football Loven
<v Speaker 1>and I'm driving in my car and he says, Dad,
<v Speaker 1>can you put on this song? And I said, where
<v Speaker 1>have you heard of this song? And he goes, Dad,
<v Speaker 1>It's Chicago And I'm like, what, who are you? What
<v Speaker 1>is it are you talking about? And so for him,
<v Speaker 1>I cranked up. You are the inspiration.
<v Speaker 3>You know, love was meant to be? Kind of love
<v Speaker 3>the last.
<v Speaker 1>D Wow.
<v Speaker 4>There are panty droppers and then there, I mean, this
<v Speaker 4>is a Mount Rushmore makeout mixed song right here.
<v Speaker 1>Who was I can't remember who'said it? Maybe maybe it
<v Speaker 1>was you that said it. There are painty droppers, and
<v Speaker 1>then there are songs that as you're driving in the
<v Speaker 1>car playing the song and the girl chases after you
<v Speaker 1>with brows are painted at you.
<v Speaker 6>That's it.
<v Speaker 2>That was me.
<v Speaker 6>I didn't say that.
<v Speaker 1>And the story behind is fantastic. And I know that
<v Speaker 1>you've told me this story before, but did we tell
<v Speaker 1>it on an episode or did you just told it? Okay?
<v Speaker 4>So yeah, we talked about it on our Best of
<v Speaker 4>eighty four.
<v Speaker 1>Yeah, well go check out that episode, even though you're
<v Speaker 1>probably gonna hear the story again. But this is such
<v Speaker 1>a great story you got to tell it. Rice.
<v Speaker 4>So, Peter Sitara is at home one day and David
<v Speaker 4>Foster calls him and says, hey, Kenny Rogers wants you
<v Speaker 4>to write a song for me. We need to write
<v Speaker 4>a song for Kenny Rodgers. And Peter Sitara is like, okay,
<v Speaker 4>sounds good. I mean I'm leaving for Italy here in
<v Speaker 4>a few hours, but I can do it maybe in
<v Speaker 4>a couple of weeks. David Foster's like, no today now right.
<v Speaker 4>Kenny wants it now, get in the car and come
<v Speaker 4>over right now. He's like, I'm going to Italy. He's like, well,
<v Speaker 4>I mean, I guess my plane doesn't leave for a
<v Speaker 4>few hours, so I guess I can come by for
<v Speaker 4>a little bit. So he drives over of the studio,
<v Speaker 4>him and David Foster sit down, they kind of bang
<v Speaker 4>out the bones of the song. He flies to Italy,
<v Speaker 4>and then while he's in Italy he kind of finishes it.
<v Speaker 1>Up, thinking about Michael Angelo. You're the inspiration there.
<v Speaker 4>You go right well, for whatever reason, Kenny just kind
<v Speaker 4>of falls asleep on it and passes on.
<v Speaker 1>It doesn't really do that.
<v Speaker 4>Yeah, right, and so Peter stairs like, okay, by me,
<v Speaker 4>I'll grab this and turn it into a number three hit.
<v Speaker 1>Yeah. I mean, can you imagine if Kenny had done
<v Speaker 1>this song? Would this have been another Islands in the Stream?
<v Speaker 4>I mean, yeah, it's a great song. Who knows what
<v Speaker 4>could have done with it?
<v Speaker 1>Yeah.
<v Speaker 4>So this was released October three, verse Halloween of nineteen
<v Speaker 4>eighty four. It reached number three. It's such a great song.
<v Speaker 1>It's the other tempole of the album. You got a
<v Speaker 1>tempole in the middle of side one.
<v Speaker 4>I got to roll through this top ten. I know
<v Speaker 4>I've done this a couple of times, but.
<v Speaker 1>That's all right. We all love these songs and it
<v Speaker 1>takes us back to this time. It's just what we're
<v Speaker 1>here for. Okay.
<v Speaker 4>So we've talked about several of these songs. Number eleven
<v Speaker 4>on the Billboard in January on January nineteenth of nineteen
<v Speaker 4>eighty five. Number eleven is Sea of Love by the
<v Speaker 4>Honey Drippers.
<v Speaker 1>Oh, Rubbert Plant spanned, Yeah.
<v Speaker 4>That's right, Robert Plant side project. Number ten is Careless
<v Speaker 4>Whisperer by Wham.
<v Speaker 1>Of Course, Fantastic Yeah.
<v Speaker 4>Number nine is born in the USA Springsteen YEP. Number
<v Speaker 4>eight We Belong by Pat Benatar, Nice number seven The
<v Speaker 4>Wild Boys by Duran Duran.
<v Speaker 1>Fantastic Yeah.
<v Speaker 4>Number six, Run to You by Brian Adams. Number five
<v Speaker 4>Easy Lover by Philip Bailey and Phil Collins YEP The Phils,
<v Speaker 4>The Phils. Number four I Want to Know What Love
<v Speaker 4>Is by Foreigner.
<v Speaker 1>Oh my gosh, okay, oh my gosh.
<v Speaker 4>Number three Year the Inspiration. Okay, now pick out the
<v Speaker 4>one that doesn't fit. Number two All I Need by
<v Speaker 4>Jack Wagner.
<v Speaker 1>How does Jack Wagner keep popping up?
<v Speaker 4>It's like a bad penny.
<v Speaker 1>You don't always around.
<v Speaker 4>What this one song is always.
<v Speaker 1>Around Jack Wagner.
<v Speaker 4>Oh my god, go back to our Motley Crue Girls,
<v Speaker 4>Girls Girls episode.
<v Speaker 1>He's come up multiple time. I can't figure it out.
<v Speaker 4>He inspired a song called You're All I Need by
<v Speaker 4>Motley Crue where Nicky six wanted to kill him.
<v Speaker 1>Break his legs, just break his legs.
<v Speaker 4>And number one is Like a Virgin by Madonna.
<v Speaker 1>Well that's kind of a big, kind of iconic for
<v Speaker 1>nineteen eighty five.
<v Speaker 4>Yeah, oh man, such a great song, you know, I
<v Speaker 4>asked you when you look at the video. It's not
<v Speaker 4>a great video.
<v Speaker 1>The acting in this terrible.
<v Speaker 4>And if you've ever wanted to see Billy Idol make
<v Speaker 4>out with Madonna, you do get that in this video.
<v Speaker 1>It's not the actual Billy Idol or the actual Madonna.
<v Speaker 1>It's just to look alike likes, yes.
<v Speaker 4>And they're all just kind of laying on couches while
<v Speaker 4>they're playing this song. The video does not do this
<v Speaker 4>song justice.
<v Speaker 1>Yeah, what's weird is like Peter Satarra's bass is like
<v Speaker 1>flipped upside down is yes, what I don't even know
<v Speaker 1>what he's doing. It's weird.
<v Speaker 4>I would never have known that.
<v Speaker 1>Well, here's the and here's the story on that. Right,
<v Speaker 1>So we talk about, you know, David Foster being the
<v Speaker 1>guy that turned these guys around, right and made them
<v Speaker 1>the hit monsters that would that came out of Chicago
<v Speaker 1>sixteen and this album Chicago seventeen. He said that as
<v Speaker 1>they're you know, as they're doing some recording on Chicago sixteen,
<v Speaker 1>get done with the song and he's like, hey, Peter,
<v Speaker 1>you hit the wrong note. It was a G, not
<v Speaker 1>an F. You hit an F. We we need to
<v Speaker 1>hit the G the next time we do this. Just
<v Speaker 1>that's what you say as a producer. Right, he knows music,
<v Speaker 1>he knows he's got the ear. This is why the
<v Speaker 1>guy is getting paid. Right. Peter Seta comes into the
<v Speaker 1>booth and is like, don't ever correct me in front
<v Speaker 1>of the band again, and I'm not playing bass anymore.
<v Speaker 1>You're playing bass. What it was that moment that these
<v Speaker 1>guys started writing songs together, like somehow, that little that
<v Speaker 1>little heated moment where David Foster is like, Okay, I'll
<v Speaker 1>go play the bass better than you, and then somehow
<v Speaker 1>that you know, this is kind of like the guys
<v Speaker 1>on the football field when you hit hit a guy
<v Speaker 1>hard and he comes back and hits you harder. You're like, Okay,
<v Speaker 1>this guy's cool. Wow, yeah, good story. I like that one. Yeah, Okay,
<v Speaker 1>going on the next song.
<v Speaker 4>I hate to leave this makeout class. Let's go on
<v Speaker 4>in the next song.
<v Speaker 1>Okay.
<v Speaker 4>This song is called Please hold On.
<v Speaker 6>You Love Me.
<v Speaker 1>So this is Bill Champlain singing yep, just Bill Champlain, yep,
<v Speaker 1>none of the other guys. Written by Bill Champlain, David Foster,
<v Speaker 1>and Linel Richie.
<v Speaker 4>Oh good good, I love that very good.
<v Speaker 1>It's kind of funky. I'm not I'm not skipping it.
<v Speaker 1>It's it's eighties jazz, but it's it's more listenable than
<v Speaker 1>some of the other ones. Yeah.
<v Speaker 4>I like Bill Champlin's voice.
<v Speaker 1>I do too.
<v Speaker 4>Yeah, And Lionel Richie knows how to write good songs exactly,
<v Speaker 4>So it is David Foster, so it's Bill Champlin.
<v Speaker 1>Yeah, it works for me.
<v Speaker 4>Yeah, Okay, let's flip back to I'm going to talk
<v Speaker 4>about Chicago twelve real quick.
<v Speaker 1>Okay.
<v Speaker 4>Chicago twelve came out in nineteen seventy eight.
<v Speaker 1>But it wasn't call it Chicago twelve.
<v Speaker 4>Okay, it's called Hot Streets.
<v Speaker 1>Okay.
<v Speaker 4>That record was not commercially successful. Okay, Right, so they
<v Speaker 4>try again in nineteen seventy nine. This time they call
<v Speaker 4>it Chicago thirteen. That album not commercially successful. Right, Let's
<v Speaker 4>try again Chicago fourteen and nineteen eighty. We just did
<v Speaker 4>our best of nineteen eighty nothing nothing, just three albums
<v Speaker 4>a row, nothing crickets.
<v Speaker 1>Like these guys. These guys had reached the end of
<v Speaker 1>their creative rope and the depths of their addictions, and
<v Speaker 1>you know, they've been together for a long time at
<v Speaker 1>this point, and things, you know, the relationship was sour
<v Speaker 1>with a lot of guys.
<v Speaker 4>All good things must come to an end.
<v Speaker 1>Well, like I said for Columbia, that was true. Guys
<v Speaker 1>were done. So they're dropped, dropped. Do Chicago fifteen as
<v Speaker 1>the greatest hits. And then we get Chicago where they've
<v Speaker 1>moved over to Irving azof who's got his own record
<v Speaker 1>label that's a subsidiary of the Warner label, and they've
<v Speaker 1>got David Foster in to help them rise from the ashes.
<v Speaker 4>So with Chicago sixteen, yeah, they're poised and ready, and
<v Speaker 4>they release a song called hard to Say.
<v Speaker 1>I'm Sorry, I'm kind to say, arguably one of the
<v Speaker 1>best opening verses of any song ever. That's great, It's devastating.
<v Speaker 4>This song is so good.
<v Speaker 1>So did you know they made this? They did this
<v Speaker 1>for a movie? What this is? This is in a
<v Speaker 1>movie before it Before It doesn't.
<v Speaker 4>That stupid Brian Adams movie.
<v Speaker 1>Isn't No No. This is an old Darryl Hannah movie
<v Speaker 1>called Summer Lovers. Yes, okay, And literally you've got that
<v Speaker 1>intro piano piano playing at this kind of pivotal moment
<v Speaker 1>in the movie, and all of a sudden you hear
<v Speaker 1>like this motorcycle revving up, and the motorcycle gets louder
<v Speaker 1>and louder as the guy's coming forward, and they don't
<v Speaker 1>even you don't even hear any of the lyrics of
<v Speaker 1>the song. It's just like this brief little snippet of
<v Speaker 1>this incredible song that the guys who are doing the
<v Speaker 1>soundtrack to this movie are just idiots and just don't
<v Speaker 1>take advantage of at all. But you know, it goes
<v Speaker 1>on to be a number one song, so not too
<v Speaker 1>bad Lands on his feet after all.
<v Speaker 4>So this song does hit number one despite the movie
<v Speaker 4>people not knowing what the heck they're doing. Yeah, but
<v Speaker 4>this is their big comeback, and you know what, big big, Yeah,
<v Speaker 4>this after three albums of nothing, and you come out
<v Speaker 4>and you go to Balladtown and it brings you a
<v Speaker 4>number one hit and puts you back on your feet.
<v Speaker 4>And with the record, you've got to go to Ballatown now. Yeah,
<v Speaker 4>you have to say goodbye to the old stuff and
<v Speaker 4>embrace what is new.
<v Speaker 1>Yeah. Well that didn't sit well with a lot of
<v Speaker 1>the guys. Yeah, but they I mean, as one of
<v Speaker 1>them said, it built the pool in my backyard, so
<v Speaker 1>it's hard for me to be really better it's hard
<v Speaker 1>for me to say, I'm sorry, right, right.
<v Speaker 4>I heard Peter Stara talking about in the Along Comes
<v Speaker 4>a Woman video when they got together to kind of
<v Speaker 4>talk about the ideas behind the video. The director didn't
<v Speaker 4>well it wasn't super familiar with him whatever, and he's like, Okay,
<v Speaker 4>who's the leader, And Peter Stair's like, well, I'm I'm
<v Speaker 4>the lead.
<v Speaker 1>Singer, right, and the guy the video director, I mean,
<v Speaker 1>this is a reasonable question. He's like, I can't. I
<v Speaker 1>can't put the camera on all seven of you for
<v Speaker 1>this whole video. That just doesn't make any sense. And
<v Speaker 1>because Satara is the lead singer, it makes sense that
<v Speaker 1>the video would be more on him. Then, shortly after
<v Speaker 1>that success, the obvious partnership between David Foster and Peter
<v Speaker 1>Sittera and the continuous reduction in horn parts for the songs,
<v Speaker 1>Peter Stera then says, guys, I feel like I should
<v Speaker 1>be making more money than you. Yeah, And they're like, huh, okay,
<v Speaker 1>this is a turn, and maybe he's right, maybe he
<v Speaker 1>was right, but he rode the tales of their success
<v Speaker 1>up until nineteen seventy six, so then.
<v Speaker 4>He carried them through the eighties.
<v Speaker 1>Well, he didn't like the whole band failed for a while.
<v Speaker 1>He was a part of their resurrection. There's no question
<v Speaker 1>about that. But I mean, I don't know. It's the
<v Speaker 1>writing was on the wall that this was, this relationship
<v Speaker 1>was about to end.
<v Speaker 4>I saw that he wanted to do a solo album
<v Speaker 4>and kind of bounce back and forth, similar to what
<v Speaker 4>Phil Collins had done with Genesis. Well, I look over there,
<v Speaker 4>Genesis is fine. Phil Collins puts out a solo album,
<v Speaker 4>He goes back to Genesis and it's all cool.
<v Speaker 1>Right, It was not cool in Chicago.
<v Speaker 4>So they actually send him a letter is like ultimatum,
<v Speaker 4>you're doing this or else. And so it was kind
<v Speaker 4>of a did he quit did he get fired?
<v Speaker 1>It's kind of both.
<v Speaker 4>They gave him an ultimatum and he didn't accept it.
<v Speaker 1>And so what we get is the most successful album
<v Speaker 1>of the band, followed by the departure of the singer
<v Speaker 1>who made it that most successful album of the band.
<v Speaker 1>So this is the last album that Chicago has with
<v Speaker 1>Peter stra on it. And next week we're going to
<v Speaker 1>be talking about Vital Signs, where Survivor now has a
<v Speaker 1>brand new lead singer because they just lost their original singer,
<v Speaker 1>So one last album with the singer and one first
<v Speaker 1>album with the singer to compare it to R And
<v Speaker 1>on that note, you know, once Peter Satara is gone,
<v Speaker 1>they have to find a replacement for and the guy
<v Speaker 1>that they have come is a guy named Jason Neff.
<v Speaker 1>Has a great high pitched voice, plays the bass. Seems
<v Speaker 1>like a great fit. As I mentioned before one of
<v Speaker 1>our old Top Five episodes, Richard Page of Mister Mister
<v Speaker 1>was on the list of possible people. But basically they
<v Speaker 1>got it down to two people. And so they call
<v Speaker 1>Jason neph and they're like, hey, twenty three year old
<v Speaker 1>Jason Neff, who's not had any kind of success as
<v Speaker 1>a musician at all other than small gigs. Right, it's
<v Speaker 1>between you and one other guy. And he's like, awesome,
<v Speaker 1>who's the other guy. It's Mickey Thomas of Starship. Okay,
<v Speaker 1>so I'm not the guy there, right. He's like, listen,
<v Speaker 1>you're not coming with any baggage, right, you didn't. You
<v Speaker 1>haven't had a music career where you've got all these
<v Speaker 1>other issues that have come up, and you have ways
<v Speaker 1>of doing things. They like you, they want you, and
<v Speaker 1>what they get is Jason Neff who then Chicago eighteen
<v Speaker 1>another Penny dropper without Peter Sata. I guess they made
<v Speaker 1>it work.
<v Speaker 4>David Foster went with Peter Sata to his solo album,
<v Speaker 4>which seems like Peter kind of got him in the divorce.
<v Speaker 1>Yeah.
<v Speaker 4>Then he bounces back to Chicago's like, hey, let's write
<v Speaker 4>some more hit.
<v Speaker 1>Songs with this new guy. And they did, and they did,
<v Speaker 1>and they did. Yeah. Yeah.
<v Speaker 4>In fact, Chicago eighteen and nineteen are great albums, full
<v Speaker 4>of great songs.
<v Speaker 1>Yeah.
<v Speaker 4>So some of the guys thought that Peter Sata was
<v Speaker 4>a Prima Donna.
<v Speaker 1>Uh huh.
<v Speaker 8>Next song in the album is called Prima Donna.
<v Speaker 1>So this is by Peter Satira sa. I don't think
<v Speaker 1>he was writing about himself, right. Also with Bark Goldenberg,
<v Speaker 1>who were the guys who brought us along? Comes a
<v Speaker 1>Woman and this is a song that could have been
<v Speaker 1>a single, could have been a single.
<v Speaker 4>Could you see the song in Secret of My Success.
<v Speaker 1>Any number of eighties movies at the time. I'm sure
<v Speaker 1>you see a video on MTV for it. I mean
<v Speaker 1>it has all the markings. I don't know why they
<v Speaker 1>didn't release it. It's fun, it is, It's a great
<v Speaker 1>little song. Great another great example of the killer songs
<v Speaker 1>on this album.
<v Speaker 4>Last song on the album is a song called Once
<v Speaker 4>in a Lifetime.
<v Speaker 1>This is another great song, man. I mean, I don't
<v Speaker 1>know what to say on this other than I guess
<v Speaker 1>when you have an album full of great songs, you
<v Speaker 1>have to kill some babies. But this is again. Had
<v Speaker 1>I heard this on the radio over and over like
<v Speaker 1>I did in the mid eighties with Along Comes a
<v Speaker 1>Woman and some of these other songs. I don't know
<v Speaker 1>that it's gonna be a top ten song, but it's
<v Speaker 1>a top forty hit. Yeah.
<v Speaker 4>You get David Foster, you get Peter sa Terra's voice, you.
<v Speaker 1>Get this written by James Pankow, who had only written
<v Speaker 1>one other co written one other song on this one,
<v Speaker 1>which was not that great. But I don't know how
<v Speaker 1>this one didn't make it. Well.
<v Speaker 4>I agree with you. This song could have easily been
<v Speaker 4>a hit. But I'll tell you what was an unmistakable
<v Speaker 4>hit was the first song that Peter Sitera released as
<v Speaker 4>a solo artist in the summer of nineteen eighty six, Okay,
<v Speaker 4>for the movie Karate Kid Part two, Right, That songs
<v Speaker 4>called the Glory of Love.
<v Speaker 3>I could never make it.
<v Speaker 1>Okay. I feel like at this point you're looking for
<v Speaker 1>any excuse to throw in more magical songs.
<v Speaker 4>Packing this full of magic. Do you know what movie
<v Speaker 4>this song was written for?
<v Speaker 1>It wasn't written for Karate Kid.
<v Speaker 4>It was not written for Karate Kid too.
<v Speaker 1>I'm gonna go out on a limb here. Is Is
<v Speaker 1>it a movie that's kind of related to the Karate Kid? Yes?
<v Speaker 1>Is it a rocky movie? It is? Is it Rocky four?
<v Speaker 4>It is Sylvester Stallone listen to this song? Said nay,
<v Speaker 4>it may be a little soft for a rocky I
<v Speaker 4>think it is soft for rocky. Yeah, I think it
<v Speaker 4>is more appropriate for Danielson.
<v Speaker 1>I think James James Brown was a better choice than
<v Speaker 1>Peter Satara for Rocky. Peter Satra good for you know,
<v Speaker 1>the young early twenties love Affair in Japan. Yeah, that's great.
<v Speaker 4>The song that got in instead of Glory of Love
<v Speaker 4>to the Rocky four soundtrack, Heart's on Fire by John Parr.
<v Speaker 1>There you go, it all comes full struggle. Yeah, John
<v Speaker 1>Parr with the David Foster. It's great, great connection. There
<v Speaker 1>you go. Okay, So that does it for Chicago seventeen.
<v Speaker 1>Incredible album. I incredible. I can't figure out how another
<v Speaker 1>album is going to compete with this, But you haven't
<v Speaker 1>heard Vital Signs yet.
<v Speaker 4>Vital Signs has got some bangers.
<v Speaker 1>On absolute bangers. This is I just got to say,
<v Speaker 1>this is not gonna be an easy choice for me.
<v Speaker 1>I'm gonna go dive deep into Survivor. I'm going to
<v Speaker 1>enjoy the amazing thing that is the Vital Signs and
<v Speaker 1>they're going to come back and Jason and I are
<v Speaker 1>going to tell you what we think the better of
<v Speaker 1>those two albums are. So don't forget to hit that
<v Speaker 1>subscribe button, that follow button. You can catch that episode
<v Speaker 1>next week.
<v Speaker 4>See you guys back here next week.
<v Speaker 5>Thanks guys. So I better go get the manager.
<v Speaker 1>Oh my gosh, that is crazy. That could be an
<v Speaker 1>out take.