Hot 8 Brass Band

Founded by Bennie Pete (tuba player) Jerome "Bay Bay" Jones (trombone) and Harry “Swamp Thang” Cook (bass drum) in 1995 from two earlier bands, The Looney Tunes Brass Band and The High Steppers Brass Band, their music is described by Bennie Pete “Hot 8 music is feel good music…music with a message. It’s life music.”

Hot 8 Brass Band from New Orleans, Louisiana, United States and they cut their musical mustard in traditional second line parades in the streets of their home town. The line up usually will have eight or nine players, bringing the passion and noise via trombones, saxophones, trumpets, snare and bass drums, all held together by the earth rumbling tuba baselines of band leader Bennie Pete. Their music was used in features by CNN, Nightline and The New York Times in media coverage of the aftermath of Hurricane Katrina and was used in Spike Lee’s documentary of this disaster “When the Levees Broke: A Requiem in Four Acts” (highly recommended viewing b.t.w)

They are currently signed to the U.K's Tru Thoughts label, having previously been signed to Louisiana Red Hot label, which was wiped out by the hurricane. Interest in the band grew over in the U.K in 2007 onwards with features on the BBC's The Culture Show , a session recorded for Gilles Peterson’s show on BBC Radio 1 and a couple of tracks with recorded with Basement Jaxx; their music has also featured on a Volkswagen advert. On a personal note, whenever this track comes round on my mp3 player, it's never skipped and quite often the repeat button is pressed, "feel good music" for sure!

Hot 8 Brass Band - Sexual Healing cover of the Marvin Gaye classic - Live in Paris 2008 buy it here



http://www.hot8brassband.com/

http://www.myspace.com/hot8brassband

http://en.wikipedia.org/wiki/Hot_8_Brass_Band

http://www.tru-thoughts.co.uk/artists/hot-8-brass-band

Hypnotic Brass Ensemble

My field reporter at the annual Womad Music Festival held in Reading U.K was asked who made the biggest impression on the crowd, she reckoned that the stand out performance of the day was from these guys - Hypnotic Brass Ensemble, from the south side of Chicago. Judging by the youtube footage, I have to concur, that this is top drawer stuff full of dazzling tight grooves, that make me want to simultaneously chillax to the bone, yet fug like an eight legged groove machine.

This song was originally released as a single in 2007 and features on their self-titled May 2009 album, out via Honest Jon's. This is Damon Albarn's independent record label (parent distribution company Parlophone) Buy the vinyl here or buy the mp3s here.

Hypnotic Brass Ensemble - War



http://hypnoticbrass.net/

http://www.myspace.com/hypnoticbusiness

http://hypnoticbrass.blogspot.com/

http://en.wikipedia.org/wiki/Hypnotic_Brass_Ensemble

Blood, Sweat and Tears - No Sweat

Now, here we have a prime example of why buying vinyl albums can be such an enriching activity, adding to core experience of listening to music product. Blood, Sweat and Tears were a pioneering prog jazz rock band who pushed the envelope of this genre, back in the late sixties, early seventies. No Sweat was released in 1973 and is one of the finest examples of gatefold fold packaging of this period. The band must have been smoking some heavy gear to have agreed to this particular concept that the cover designers pitched to the record company.

I can only imagine that the meeting went something like this:

Designer: O.K guys, now the title is gonna be 'No Sweat' so we have chucked the concept around with our brightest sparks and after some serious deliberation, thinking waaaay out of the box, the boys have come up with a sauna theme!

B S & T: uh huh, we're cool with that.. Are there gonna be like, nakkid chicks, all lubed up huh?

Designer: Err, not quite, we were thinking more on the the lines of you all dressed up in tux'n'tails.

B, S &T: Classy! we like it... but then we get to strip off next to some broads, yeah?

Designer: Your batting in roughly the right ballpark, but we were imagining a steamy room packed with some guys! fab eh!!

B, S & T: oh guys...

Designer: Yeah old guys..

B,S & T: ole geezers!?

Designer: For sure..all of 'em just wearing towelling.

B, S &T: flabby nakkid ole guys.. !!

Designer: fab ain't it, but you've yet to hear the best part; on the picture on the inner covers, you take your clothes off as well, looking like your taking orders from a guy whose a dead ringer for Uncle Junior off The Sopranos (artistic licence here, stick me me folks)

B, S & T: I'm not feelin' it maaan, sounds like we're going to look pretty daft...

Designer: Guys, guys, it's high concept stuff here, the message is the MAN is having to accept you rebellious longhairs. It's a statement, your fans will love it, yer speaking their language..total street cred, in fact, by the third picture, the ole boys are not just accepting the new world order, but they actually look like they are lovin' been surrounded by you longhairs, you've totally turned em maaaan, they've tuned on, turned on and dropped out! WOW!

B, S & T: I hope the soap ain't being dropped at this point!

Designer: By the final image on the back, you've swept away the old order, leaving just the band members hanging out together soaking up the atmosphere, all just through the power of your presence and some strategically placed towels.

B, S & T: We err.. look manly here, um right? not like we're enjoying each others company, too much?

Designer: Of course..Greek gods

B,S & T: The chicks will still dig us right? we won't look slightly daft, or be portrayed in any manner at all that gives the impression that we're a little bit, well you know, camp?

Designer: Of course not, this'll be the the making of the band, that cover will be the iconic cover of the Seventies like 'Sgt Peppers' you boys will be stellar once everyone sees this, you can trust me on this, after all I am a designer!

B,S & T: Well in that case O.K. let's roll with it, no sweat!

http://www.bloodsweatandtears.com

wikipedia.org/Blood,_Sweat_&_Tears

Chicago X (Chicagothon Part 7)

This week, I have managed to track down another Chicago album, and so I serve it up for you in a post-dinner party style, like an After (Chicago) Eight mint. We are now into 1976 and the guys have eased off the throttle, indicating that they're moving into the middle of the road, aiming to do a steady 55 m.p.h, no matter who's honking up their rear bumper. It's also notable for missing the top slot in America, reaching number three, thus breaking Chicago's run of four number albums in a row.

The single album cover has a tasty chocolate bar theme to it, no expense has been spared in the packaging, with a lyric insert and a chocolate coloured inner sleeve, all contained within a lush gatefold design. The inside of said gatefold is taken up with a photo the the guys being chased by a Boss Hogg type of policeman; for crimes against music, no doubt! book'em officer!!


Side 1

Once or Twice (3:02)
It's going to take more plays than that for me to remember this track, an average bar room boogie.

You Are on My Mind (3:25)
James Pankow sings along to this reasonable little shimmy, that hints of Santana.

Skin Tight (3:21)
It's aiming for funky, however it's more flunky.

If You Leave Me Now (3:59)
You'll recognise this one straight away, Peter Cetera's effort stands out in terms of musical style and execution, as a saccharine power ballad, that would become their signature trade mark. It wasn't originally going to be on the album until the insistence of the manager James William Guercio, who must have had dollar signs cher-chinging away, as this became a number one smash hit on both sides of the Atlantic. It's like marmite, you'll either love it or hate it..

Together Again (3:55)
Lee Loughnane writes and sings on what can only be described as a pleasant album filler. In these i-pod picky days of track skipping, as a mp3, it would never be listened to again.

Another Rainy Day in New York City (3:05)
A clunky steel band Calypso conjoined onto an A.O.R sound. If that's sounds horrible in the description, that's because it is.. a minor hit in the States.

Side 2

Mama Mama (3:33)
Cetera's just going through the motions here, the song barely registers in my ear lobes.

Scrapbook (3:32)
Robert Lamm recalls all the good times the band has had. This roll of nostalgia must have reminded them of when they used to let loose in the studio, making this the perkiest track so far.

Gently I'll Wake You (3:35)
Indeed, you'll need to because my eyelids are drooping here.

You Get It Up (3:36)
That 'wah wah' voice box effect is back on this party track.

Hope for Love (3:08)
Terry Kath wrote and sung this touching lament, to at least see out album number X in style, reminding us of what Chicago were capable of.

Conclusion: My 'CHICAGOTHON' has finished on a bit of a damp squib. The X album sounds like the result of a worn out band, who had lost direction. I don't like putting the boot in critically, but you can't help feel somewhat aggrieved that such a talented bunch of songwriters and musicians felt they could churn out a collection of 'treading water' songs. The slide towards Cetera's vision of the band was enforced by the overwhelming success of 'If You Leave Me Now' Two years later, this metamorphosis would be completed by two events, they fell out and split with long-time manager/producer James William Guercio, then tragically, core band member Terry Kath died, through a self inflicted gunshot wound, whilst cleaning his gun. The rest of the group rallied around on carried on to achieve huge commercial success, but the spirit of Chicago had irrevocably changed.

What have I learnt from this little challenge, apart from that it's quite hard to keep writing about a Seventies band who released prodigious amounts of similar sounding albums. Well, on a simplistic level, that 'The Chicago Transit Authority' is a must have record for any fan of that period of post sixties rock, where artists really pushed the music towards previously unexplored territories. The next half a dozen Chicago albums are worth a listen, if and when you spot them nestling in the vinyl crates. However, the major thing I've learnt, is not to prejudge whether or not to jump into a band's output purely on (sometimes unfair) reputation, but also that a bad rep is often justified. So, get your sticky mitts diving into those vinyl crates, but don't be surprised if you occasionally get fingers burnt!

http://www.chicagotheband.com/

http://en.wikipedia.org/wiki/Chicago_(band)

Chicago VII (Chicagothon Part 6)

Phew! we're on the home stretch now of 'CHICAGO WEEK' I must admit my enthusiasm for their brand of radio friendly jazz rock is starting to take a dive. However, let it not be said that Scratchy Buckles is a quitter, so let's get stuck into their next offering. We have another double album in a gatefold sleeve, with a carved wooden box effect on the cover design. The steam train from the previous album's inner sleeve appears, as well as some agricultural scenes and a big wheel. Are these views of the famous Chicago World Fair? Inside we have a photo of the guys in a rural setting, presumably taken on the studio ranch in Colorado. They're looking pretty chipper this time and so would you if you had knocked out a three number one albums in a row.

Chicago VII

Side 1

Prelude to Aire (2:47)
A jazzy instrumental opener, with it's tribal dance beat plus a floaty flute, this track puts me in mind of the voodoo scenes in the James Bond film Live And Let Die. Time to make a sharp exit with Solitaire.

Aire (6:28)
Tery Kath's guitar wizardry has lots of room to breathe as he can really express himself on this chilled out workout. The influence of jazz really permeates the whole the this side, originally the whole focus of this album was going to express this side of Chicago's songwriting but Peter Cetera and James Wiliam Guercio (the producer/manager) were worried about the impact of going in this direction and so the album expanded to fit in some more commercial tracks.

Devil's Sweet (10:09)
The third instrumental in a row showcasing Chicago's jazzier side. The whole of this side has Danny Seraphine on the writing credits, thus showing his interest in pushing the experimental face of the band.

Side 2

Italian From New York (4:14)
If this was a bar, it would be in a basement down a dimly lit backstreet where all the hipsters, hucksters and hustlers congregate in the early hours.

Hanky Panky (1:53)
The bar is filling up now, smoke hangs heavy in the air and the liqueur is taking effect.

Life Saver (5:18)
The first piece of singing and Robert Lamm really gets the joint bouncing, with a catchy chorus and horns packing a punch.

Happy Man (3:16)
Those familiar treacly vocals from Peter Cetera kick in, to lift a pretty standard love song. Guercio was not content with just being the manager and producer, joins in on this one on his acoustic guitar.

Side 3

(I've Been) Searchin' So Long (4:28)
James Pankow throws us a curve ball on this ditty, as it begins as a soft ballad, then works up into a frenzied hard rocking climax, with Kath's guitar duelling with the horn section. A number nine hit in America and set to be a benchmark for that more familiar Chicago sound that gained heavy radio rotation.

Mongonucleosis (3:27)
Snappy title, snappy tune!

Song of the Evergreens (5:21)
Lee Loughnane debuts on lead singing duties on this track, that could have done with some sprucing up, but it's a grower!

Byblos (6:20)
A forgettable effort, that perhaps should have been left in the studio, or as a 'b' side. This is the problem with releasing double albums, there's too much temptation to throw everything in but the kitchen sink. How many times have you sat listening to a bloated seventy minute collection that would make a more successful leaner single forty minute L.P

Side 4

Wishing You Were Here (4:37)
Cetera roped in Al Jardine, Carl Wilson and Dennis Wilson from The Beach Boys for some backing vocals, as you would expect with such quality, they add a touch of class to the mix. They scored a number 11 hit on the Billboard hot 100.

Call On Me (4:03)
Some of the greatest songs are written on the back of a fag packet in fifteen minutes, however this one isn't one of them, it just sounds like it was knocked out at the end of a day of hard recording. The public still bought it though, making this rare Lee Loughname penned song, another top ten single.

Women Don't Want to Love Me (4:36)
Lamm rolls out another Chicago trademarked funky standard.

Skinny Boy (5:17)
A welcome guest appearance from The Pointer Sisters lifts the final track out of the ordinary, along with a chilled bass line perking up this section, which threatened to become a flaccid finale.

Conclusion: I think I finally get why Chicago's stock is so low, critically speaking, and thus why their albums still fill the bargain bins and charity crates, whilst their contemporaries like Foreigner, The Eagles and Steely Dan reputation have revived in recent years, with favourable critical reassessments. Firstly: they sold a bucketful of albums in the Seventies and Eighties, we have a collective amnesia about just how big a band these guys were, especially in America. Secondly: Chicago were two musical groups squeezed into one band. By this, I mean that they were on one hand, jazz rock pioneers, who pushed the boundaries with complex arrangements and free form melodies, this side was more prevalent in the earlier albums. The alter ego was the safer slicker A.O.R band who consistently delivered radio friendly hit after hit. In trying to satisfy both forces within the group , they ended up delivering to neither and thus never wholly gaining critical favour. They should have been two separate projects, each filling the respective briefs, without having to compromise the other's demands. This would have resulted in more honest albums, that retained more affection/favour in the pantheon of pop and rock music history.

http://www.chicagotheband.com/

http://en.wikipedia.org/wiki/Chicago_(band)

Chicago VI (Chicagothon Part 5)

We move onto 1973 and Chicago, deliver another Billboard chart topping album, recorded at their manager's Caribou Ranch Studios in Colorado. They push the boat out on the cover design which has intricate bank note etching going on (ooh! feel the texture) plus a picture of the guys. It's a single album within a gatefold sleeve that has a sepia tinted photo of them standing in a field looking cold and slightly miffed at having to do a photo shoot. The inner sleeve continues the Victorian lithograph style, which is a nice touch, with a steam train image flip sided with a Rubenesque statue of liberty type of gal. Jazz percussionist Laudir DeOliveira was also roped in to deliver some ace conga action.

This was also the year when some of the band were cast in the cult movie 'Electra Glide In Blue' which was co-incidentally produced and directed by Chicago's long term manager James William Guercio, who strangely never made another feature film. This is an absolute classic of Seventies alt-Hollywood cinema, made in a period, when the creative forces were let off the leash for a few years, which led to a fascinating period in stateside cinema. The critics panned it at the Cannes Film Festival (but hey! what do critics/bloggers know anyway!) but it's reputation slowly but steadily grew on release. I remember seeing it late at night in the Film4 cult slot, presented the Alex Cox of Repoman fame and it blew me away.

Side 1

Critics' Choice (2.49)
I'll be the judge of that, this is a strange opening number being a thoughtful piano ballad sung by Robert Lamm. Pleasant but it doesn't grab me.

Just You 'n' Me (3.45)
James Pankow delivers the first powerful piece of the album, written after having an argument with his future wife Karen. A real rattlesnake jive powers this one along deservedly reaching number four in America

Darlin' Dear (3.00)
Terry Kath let's rip on slide guitar on this bluesy break written by Lamm.

Jenny (3.33)

A mellow track that doesn't really take off, Jenny's more of a wallflower than a belle of the ball.

What's This World Comin' To (5.00)
The funkiest and most energetic so far with funky horns and all three vocalists making their presence felt.

Side 2

Something in This City Changes People (3.42)
The arrangement of the tracks on this album is a bit odd, as we lead in with another downbeat piano led tune.

Hollywood (3.54)
Funky tune, funky town!

In Terms of Two (3.31)
Smooth ole Peter Cetera delivers a country tinged tune complete with harmonica, that's pretty darn catchy.

Rediscovery (4.50)
Digging those wah wah guitar effects! I can imagine Family Guy's Glen Quagmire spinning this little ditty, whilst in pursuit of getting some 'giggity giggity goo' action with his latest potential conquest. Let me slip into something more comfortable 'alll riight'

Feelin' Stronger Every Day (4:21)
Peter Cetera and James Pankow co-wrote the lead out the concluding track which eases us out with catchy number, that leaves us on a feel good high. It was the other hit single from the album getting to number ten on the U.S charts.

Conclusion: I've got mixed feeling about this one, the various music styles show a band at a crossroads. On the one hand it's easily digestible, due to the more straight forward style, but you can sense the clouds on the horizon as the songwriting panders more towards commercial airplay. They could have become a blues type band (Free) jazz rock group (Steely Dan) or even a country rock outfit (Gene Clark) instead, the soft rock genre was beginning to surface.

http://www.chicagotheband.com/

http://en.wikipedia.org/wiki/Chicago_(band)

http://en.wikipedia.org/wiki/Electra_Glide_in_Blue

Chicago V (Chicagothon Part 4)

Eagle eyed readers might have noticed that I appear to have gone out of sequence and missed Chicago IV. There are two very good reasons for this, a: I don't own it and b: it's a live album of a series of shows recorded in April 1971 at Carnegie Hall, spread over no less than FOUR L.P's. Was there some sort of E.U style vinyl mountain going on at the time? Now, if I'm to survive this challenge, listening to Chicago doing extended improvisations before an audience of stoned freaks, is not going to serve me well. As well as one of the longest live albums ever pressed, it contains one of the biggest freebie posters to go along with it. An forest of trees must have been chopped to make way for this packaging.

Chicago V

The cover designers have returned to the wood grain effect with vengeance which gives the sleeve an unfortunate resemblance to the peeling pretend woody style wallpaper in Auntie Edna's parlour. A sticker on my copy promises a copy of that enormous 32" x 32" poster and a fabulous 11" x 92" 4-colour streamer of individual photos of the group. It fails to deliver on both counts.

Side 1

A Hit by Varese (4:56)
When a song is inspired by the avant-garde composer Edgar Varèse, you know it's going to be a bit of a free form jazz freak out with oodles of key changes and a chugging bass line.

All Is Well (3.51)
Indeed it is Mr Lamm, with this chilled out strum, best enjoyed whilst sitting in the garden, reading a book and supping some home made lemonade.

Now That You've Gone (5.05)
James Pankow is a bit bummed out on this paean to a lost love, fortunately for us, he's set the lament against a backdrop of throbbing bongos and general funky seventies cop show backing tunes a la Hawaii Five-O.

Dialogue (Part One) (2.56)
Terry Kath and Peter Cetera take on the role of world weary cynic and naive idealistic student, discussing the state of the nation. Remember, this is played out out against the backdrop of the war in Vietnam; it's political, certainly, but perhaps more so a comment on the individualistic philosophy, that was prevailing over the socially inclusive ideals of the flower generation.

Dialogue (Part Two) (4:13)
The debate shifts up a gear into a rousing chorus of "We can make it happen, we can change the World now, we can save the children, we can make it better" it might look a bit cheesy, written out on e-paper, but Chicago were still wearing their radical ideals on their sleeve and doing it for the people; a rabble rousing finale to the first act.

Side 2
While the City Sleeps (3.55)

It's a moody opener, reminding us that the boogie man lurks within mankind.

Saturday in the Park (4.00)
"Can you dig it?" Yes, I sure can! why? because this is a cracking tune with a Billy Joel feel to the piano riff. The boys try to rally the troops again and get them off their arses and protesting against the shadowy forces of oppression.

State of the Union (6.15)

Rob Lamm's not a happy bunny, he's worked himself up into a lather on this one, he wants to "tear the system down" but hang on, don't pull the plug otherwise the ferocious jamming will stop, of course, it goes without saying, that it's hornier than a herd of rhinos.

Goodbye (6.04)
This is more of jazzy piece, that showcases some quality drumming from Danny Seraphine.

Alma Mater (4.00)
Terry Kath sings very effectively on a gentle piano led ballad which closes the deal in style.

Conclusion: this is more of a restrained offering which is easier to digest than previous efforts, however this nod towards commerciality, means that it misses some of the soaring heights of the free form freakouts that Chicago aspired to. Not so much of a 'High Five' as a 'Five have lashings of ginger beer'

http://www.chicagotheband.com/

http://en.wikipedia.org/wiki/Chicago_(band)

Chicago III (Chicagothon Part 3)

We've moved on to 1971 and quelle suprise! Chicago knock out another double album. Axel Rose should take a leaf out of Chicago's book and up his game to this kind of productivity with 'Chinese Democracy' The cover has a ragged stars'n'stripes backdrop theme and disappointingly they've scrimped on the gatefold with the two records fitting into just the one compartment.

Chicago III

Side 1
Sing a Mean Tune Kid (9:14)
A Robert Lamm tune that makes a big entrance with a big sound and even bigger guitar solos from Terry Kath, who works himself up into a frenzy, the whole number has a Santana funky vibe going on.

Loneliness Is Just a Word (2.36)
Another Lamm classic that sneaks along like a suave undercover detective, on a mission to deliver us some incriminating grooves.

What Else Can I Say (3.13)
Peter Cetera gets a look in here with an easy going country rock tune that makes me wanna drink some moonshine on the veranda whilst practicing my spit bucket gobbing technique.

I Don't Want Your Money (4:48)
This is a straight forward hard rocking boogie blues, that you would expect to be knocked out by the resident band, at a less salubrious drinking establishment in blue collar America. I'm thinking 'The Drunken Clam' here; "Turn da freakin sound up, yer hippie" c/o Peter Griffin

Side 2
Flight 602 (2:46)
As you would expect of a hard gigging band, the influence of all the mileage they're putting in starts to seep through to the songwriting at this stage, but singing a country ballard about Canada! c'mon, what's that about?

Motorboat to Mars (1:32)
The first serious faux pas on the album as Danny Seraphine is allowed loose with a drum solo.

Free (2:17)
Fortunately the funky balance is restored with the track released as a single, which was flipped with...

Free Country (5:49)
The travel blues continues here..

At the Sunrise (2:46)
Lamm's obviously yearning to be back home with his lil' lady by now.

Happy 'Cause I'm Going Home (7.27)
We finish with a flute fiesta, it's buzzy, jazzy and beatniky.

Side 3
Mother (4.29)
A jaunty jazz tune with some heavy duty lyrics and a maudlin feel, It's like the seventies became the hangover of the previous decade's party.

Lowdown (3.35)
The rest this side is composed of a suite by Terry Kath, loosely themed under the title of 'An Hour In The Shower' It's very Beatlesque but not altogether successful. There are some nice sections but Chicago's 'achilles heel' of producing too much rambling and experimental tempo changes means it rarely rises above promising. Lowdown is the strongest part with some finger clicking beats.

A Hard Risin' Morning Without Breakfast (1.54)
It's the most important meal of the day, you know. Plenty of snap,crackle and pop in this little ditty.

Off to Work (0.48)
If only my commute was forty eight seconds long.

Fallin' Out (0.55)
I feel a verbal disciplinary from the manager coming on.

Dreamin' Home (0.51)
Damn, it's only mid morning, perhaps a gossip at the water cooler with Deirdre from accounts, might help to pass some time.

Morning Blues Again (1.08)
Arrgh, is it time get get up already? only another twenty seven years before my pension plan matures.

Side 4
When All the Laughter Dies in Sorrow (1:04)
Easy tiger! a spoken poem written by Kendrew Lascilles (actor/writer) reminds us that we're all insignificant specks on this earth and the human race is just a flash in the pan.. sheesh! bum me out why not Ken.

Canon (1.07)
The rest of this side is James Pankow's baby, a sorrowful brass lament begins his piece. It's all instrumental from now on, so no more lyrics to dampen my spirits.

Once Upon a Time ... (2.36)
This track is a chilled meandering flute led instrumental, that doesn't really know whether it's coming or going!

Progress? (2:34)
I guess the cacophony of horns represents chaotic city life, with traffic jam sounds dubbed in and a toilet flushing for good measure, does it mean we're all going down the pan?

The Approaching Storm (6.28)
At last, the boys are back to serving up what they do best.. jazz funk rock with a side dish of groovy Hammond action.

Man Vs. Man: The End (1.32)
A dramatic conclusion with a couple of false endings to tease us, winds up the show.

Conclusion: experimental music can quickly turn into self indulgence unless there's discipline in the composition. Chicago III has some great periods of music, performed by talented musicians, but there isn't enough stand out tracks for me to make sitting through the rest worth while.

http://www.chicagotheband.com/

http://en.wikipedia.org/wiki/Chicago_(band)

Chicago II (Chicagothon Part 2)

It's the dawn of a new decade and our windy city boys, meaning windy instruments rather than flatulence, are hot on the heels of their debut releasing another double extravaganza contained within a gatefold sleeve, plus the logo is bigger and actually legible this time around.

They have shortened their moniker though, as Chicago mayor Richard Daley took offence to the name of the city's public transit system being hijacked by hairy rock upstarts. Thus The Chicago Transit Authority was streamlined and the band had to call themselves just Chicago from here on.

Chicago II

Side 1
Moving In (4:06)
The opening salvo has our chaps in fine fettle with this track with a strong hook and a definite The Band like vibe in the singing department. The biting brass is back baby.

The Road (3:10)
A lighter, less blended vocal, together with a less memorable hook make this a bit filler.

Poem for the People (5:35)
The mood goes downbeat, with a piano led introspective ballad with lyrics that reflect on the state of the folks.

In the Country (6:35)
Surprise surprise: more overbearing trombones, along with many key changes make for confusion it’s all over the place and I thought the country is supposed to be tranquil.

Side 2
Wake Up Sunshine (2:32)
An poppy upbeat sunshine tune that refreshes like standing under a sprinkler.

(Ballet for a Girl in Buchannon) this is in seven sections written by James Pankow
a. Make Me Smile (3:15)
The drums are let loose on this hit song. Terry Kaff's gravely singing reminds me of Joe Cocker fruit-looping it at Woodstock or Barry McGuire's voice on 'Eve of Destruction'

b. So Much to say, So Much to Give (1:12)
A change of pace.. there's everything but the kitchen sink in this segment.

c. Anxiety's Moment (1:00)
Let's slow this baby down to bridge the gap with a nervy minute.

d. West Virginia Fantasies (1:33)
instrumental Hammond action

e. Colour My World (3:00)
One of the others hits off the album, it goes all moody with some piano led flute action to soothe me, Terry Kaff sings as he yearns for his 'ole lady'

f. To Be Free (1:15)
Ooh, those heavy brass and drums are back, it's been a while..

g. Now More Than Ever (1:25)
Crosby Stills & Nash trademark vocals are plundered in the grand finale, I've noticed the drummer has got more leverage in this album and is making sure everybody can hear him.

Side 3
Fancy Colours (5:09)
I know why your seeing those fancy colours lads: lay off the doobies, Chiccy go samba! Perhaps the most fun song on this album.

25 or 6 to 4 (4:58)
This was the big pop hit and it sure does stand out. It’s a fresh and pacey song with an urgency in the tempo. You can feel the influence of the West Coast relocation working here. The title refers to the time in the early hours when the songwriter was penning the tune.

Prelude (1:09)
The eclectic influences of Terry Kaff shows up here with a mini-suite that has classical pretensions. The chamber music makes me feel like I'm in a costume drama dinner dance, competing for the attentions of Miss Buckleberry, the vicar's daughter, against the advances of slimy Mr Lucian Fothrington-Smythe.

A.M. Mourning (2:05) P.M. Mourning (1:58)
These middle sections transcend into incidental music, I'm falling asleep now.

Memories of Love (3:58)
We wind up with a 'Hamlet' moment with this mournful lullaby, that is genuinely beautiful.

Side 4
It Better End Soon
I know the feeling! It's Robert Lamm's turn to lay an epic on us, in four parts no less, angry young men laying out their ideals about the state of the nation.

1st Movement (2:33)
A pulsating horn riff underpins those sun drenched 'West Coast' harmonies.

2nd Movement (3:40)
A pastoral flute Jethro Tull stylee that becomes more urgent with a chugging riff holding it together.

3rd Movement (3:18)
Raff is singing an anti war rant, remember, the man may have the guns but the 'long hairs' have got the tunes.

4th Movement (0:55)
Time to clear up with a bleeding horn solo, that’ll teach the fuzz. Well, there you go, more movements than from my bowels on the morning after a curry and lager night out..

Where Do We Go from Here? (2:53)
Peter Cetera get a writing/singing credit at the final furlong and his commercial sensibilities are glimpsed in this downbeat country tinged tune.

To sum up, this is more focused and confident offering than the predecessor. As a collection, it knows when to let go and when to pull it back in whacking us with those tight acid-jazz-rock riffs that Chicago were famous for. It's an exhilarating ride save for occasional sequences that over reaches their ambition.

http://www.chicagotheband.com/

http://en.wikipedia.org/wiki/Chicago_(band)

The Chicago Transit Authority (Chicagothon Part 1)

Introduction
I had always passed over Chicago records before, due to their notorious reputation of producing sickly overblown wet AOR. However, in a magnanimous moment of open mindedness, I decided to procure a whopping six albums all in one go, shelling out three of my hard earned pounds for the lot. The portents were promising for a reappraisal, as they were released from 1969 through to 1974, thus missing out on Peter Cetera's blow dried songwriting from the Eighties. I have found from experience, as a general rule, the earlier the release in a band's career, the safer the bet. I am staring at serious slice of a band's output wandering where to start, well there's only one thing for it, review every glorious note, chronologically, day by day, track by track. This is going to turn into a CHICAGOTHON.. raising money for charideey! erm.. well, three pounds as already mentioned. I declare this week to be CHICAGO WEEK!

The Chicago Transit Authority 1969
Let's start with the cover, which has to be one of the worst in rock history, all black except for the logo in the middle that's to small to read. The same logo is on the back, covering the whole space, yet is still impossible to make out the words due to the graphic designer's insistence on using a vinyl wood grain fill effect. They had a bad day at the office, methinks! Inside, things improve as we are treated to pictures of the shaggy haired band members within a lovely gate fold sleeve (always a promising sign) The image of Andy Williams makes a welcome appearance on the inner sleeve covers.

The band were...
Daniel Seraphine on drums
James Pankow on trombone
Peter Cetera bass and lead vocals
Walter Parazaider woodwinds and vocals
Lee Loughnane trumpet and vocals
Terry Kath guitar and lead vocals

Side 1
Introduction (6.35)
We are straight into background music for an American 70's detective t.v programme. I’m thinking Columbo here, during a car chase scene. It’s funky, it’s fruity, it’s trombonetastic, it’s giving me the horn!

Does Anybody Really Know What Time It Is? (4.33)
A piano lead in breaks into loungy effort, providing a jaunty feel good vibe, like driving in a Mustang down the freeway with the sun beating down, wind in your hair and not a car-jacker in sight.

Beginnings ( 7.58)
This is the big one, working up to some Crosby Stills & Nash blended vocals, then winding down with clacky percussion, that goes on just a bit too long, like the technique that Family Guy deliberately uses to make the gag scene painfully uncomfortable. Chicken Fight anyone?

Early impressions: their motto should be "Never knowingly underbrassed!"
'If you find another band who out trump us, we will give you double your trombone quota back!'

Side 2
Questions 67 and 68 (5.04)
More brassy loveliness from the first single.

Listen (3.22)
Woahh! here’s where our boys get seriously Starsky & Hutch funky, working up a good groove. There is a definite Cream influence as well.

Poem 58 (8.37)
This is the point where Terry Kaff lets loose with some guitar licks with interesting key changes and there’s a Frank Zappa vibe going on.

Side 3
Free Form Guitar (6.53)
It does what it says on the tin, indulge yourself Terry, Hendrix would approve.

South California Purples (6.10)
A Hammond heavy romp, that's slightly menacing, there's a hook line that I immediately recognise It’s like a pub quiz question, that’s on the tip of my tongue..

I’m A Man (7.40)
The only cover version on the album, of Spencer Davis Group's 1967 hit. The tightness of Steve Winwood’s songwriting reaps rewards, as their indulgent streak is kept in check. It's like a flabby stomach that’s been given a corset to hold it all in.

Side 4
Prologue, August 29, 1968 (0.57)
The Transit get political, with a clip of the crowd at the Democratic Convention. The sleeve notes explain that black militants exhort demonstrators: "God give us the blood to keep going" the march begins, police attempt to disperse marchers "The whole world’s watching" they chant. Stick it to the man!

Someday (4.13)
There’s high tempo guitar in the now familiar recipe of funk rock brass fusion.

Liberation (15.41)
Time for a freak out finale and true to form, the guys stretch it out for a mind blowing fifteen minutes of parping perfection. In the parlance of film making, nothing is left on the cutting room floor, the only four letter word that upsets these boys is EDIT.

One down, five to go: Overall, I would say this is a meaty effort, a brave experimental work, from a band finding their feet, some fat could have been chopped off the edges but you can’t argue with a band that gets your toes 'a' tapping with brass beats.

http://www.chicagotheband.com/

http://en.wikipedia.org/wiki/Chicago_(band)