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The official community for fans of the legendary rock band with horns.

Like a caraway seed in one's gum line, it continues to be an irritant that Chicago once more gets overlooked for this year's Rock and Roll Hall of Fame. Unbelievable. (Guys, don't worry! You've already been inducted into the your many fans' hall of fame! After all, that's what really matters.)

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Song Hall Membership application - More recent link

http://songhall.org/join

http://songhall.org/join/application



Richard Rice said:

They induct 3 non-performers and 2 performers every year. You can only vote that way as well. 3 and 2.

Anyone can become a voting member for the songwriters hall of fame, but if you are not in the music industry, you only qualify for lifetime membership, which will cost you $1000.00. They will send you the ballot in the mail and you can fill it out and return. It's too late to vote for Chicago this year if you are not already a member, but if Chicago doesn't get in this year, you can vote next time they are nominated, if you get ready now and become a member. Here is the link:

http://www.songhall.org/forms/shof_membership.pdf  They accept checks or money orders by mail.

One last chance for a Chicago/Peter Cetera reunion

MY BALLOT - I WISH I HAD PAID THE $1000.00 LIFETIME MEMBERSHIP FEE SO I COULD VOTE FOR CHICAGO

PERFORMERS

01. Peter Cetera / Robert Lamm / James Pankow (Chicago)
02. Robert “Kool” Bell / Ronald Bell / George Brown (Kool & The Gang)

NON-PERFORMERS

01. Jimmy Jam & Terry Lewis
02. Dan Penn & Spooner Oldham
03. P.F. Sloan & Steve Barri

Mine is:

PERFORMERS

01. Peter Cetera / Robert Lamm / James Pankow (Chicago)
02. David Gates


NON-PERFORMERS

01.  P.F. Sloan & Steve Barri

THE 2008 SONGWRITERS HALL OF FAME NOMINEES

http://www.songhall.org/vote/entry/495

Robert Lamm / James Pankow

Keyboardist Robert Lamm and trombonist James Pankow are founding members of Chicago-and remain with the trailblazing rock band, which formed in Chicago in 1967, to this day. The songs that they wrote for the group are among its most enduring and include such signature hits as “Color My World,” “Make Me Smile” and “Saturday In The Park.” Their enormously influential work helped pave the way for jazz-oriented rock. Key songs in the Lamm/Pankow catalog include “25 Or 6 To 4,” “Color My World,” “Saturday In The Park,” “Make Me Smile,” “Does Anybody Really Know What Time It Is?,” “Wake Up Sunshine” and “Old Days.”

http://www.songhall.org/images/vote/2008/lamm_pankow_large.jpg

THE 2017 SONGWRITERS HALL OF FAME NOMINEES

http://songhall.org/news/entry/songwriters_hall_of_fame_2017_nomine...

Peter Cetera, Robert Lamm & James Pankow (Chicago)

Singer-songwriter-instrumentalists Peter Cetera, Robert Lamm and James Pankow, either singly or in collaborations, were the chief songwriters of Rock and Roll Hall of Fame band Chicago. Key songs credited to the trio include “Colour My World,” “Make Me Smile,” “Saturday in the Park,” “25 or 6 to 4,” “Does Anybody Really Know What Time It Is?,” “Wishing You Were Here,” “Baby, What a Big Surprise” and “If You Leave Me Now.” Their enormously influential work helped pave the way for jazz-oriented rock. Key songs in the Chicago catalog include: * 25 Or 6 To 4 * Saturday In The Park * Colour My World * Baby, What A Big Surprise * Feelin’ Stronger Everyday.

http://songhall.org/images/sized/images/uploads/news/chicago_large-...

The Song Hall induction ceremonies are held at the Marriott Marquis Hotel in New York City.

I tried to start a Songwriters Hall of Fame thread, but I did not get confirmation from the site admin. I guess this site is no longer adding new threads.

https://www.rockhall.com/rock-roll-hall-fame-open-2016-inductee-exh...

THE 2016 ROCK AND ROLL HALL OF FAME INDUCTEE EXHIBIT

Chicago

With over 21 Top 10 singles, five consecutive Number One albums, 11 Number One singles, fans that stretch across the globe and countless bands that have followed in their wake, Chicago’s legacy is unquestionable.

Influences in their sound reflect The Benny Goodman Orchestra, Jimi Hendrix Experience (Inducted 1992), and the Paul Butterfield Blues Band (Inducted 2015) and their legacy lives on with artists such as Journey, Toto, and Sufjan Stevens.

Included in the exhibit, visitors will experience Chicago through items such as “Saturday in the Park” lyrics handwritten by Robert Lamm in 1972. The song reached Number Three, becoming Chicago’s highest charting single to date and is often a featured song during Saturday baseball games at Chicago’s Wrigley Field.

Additional exhibit connections visitors can enjoy include Legends of Rock, lyrics “From the Collection of Library & Archives” on level three, Jimi Hendrix, and Doc Pomus’ “Save the Last Dance for Me” lyrics in the Rave On case.

CHICAGO STANDS AS ONE OF AMERICA’S MOST SUCCESSFUL ROCK BANDS OF ANY EPOCH IN TERMS OF BOTH SALES AND LONGEVITY.

The 2016 Rock And Roll Hall Of Fame Inductees:

Peter Cetera, Terry Kath, Robert Lamm, Lee Loughnane, James Pankow, Walter Parazaider, Danny Seraphine

Fusing jazz and rock together in a time when the Beatles were still crashing onto the American shores and psychedelic rock was taking over the basements of teenagers; Chicago Transit Authority broke onto the scene unapologetically in 1969 with their self-titled double album, Chicago Transit Authority. A brazen mix of soulful rock, pop and jazz coupled with protester’s chants from the 1968 Chicago Democratic Convention; the album received critical acclaim and later produced the classic singles “Does Anybody Really Know What Time It Is?” and “Beginnings.” As the band began touring, under pressure from the city of Chicago, they shortened their name to simply, Chicago, and later released their second self-titled album, Chicago, in 1970. The center track, “Ballet For A Girl In Buchannon,” is a seven-part, 13-minute suite of pure melodic perfection composed by James Pankow who merged his love of classical, long song styles with Chicago’s signature sound. It yielded two unexpected singles “Make Me Smile” and “Colour My World” that quickly took the charts by storm reaching the Top Ten on Billboard’s Hot 100. From their inception through to the late 1970’s, Chicago mastered the art of making melodic jazz tinged rock with a keen pop sensibility. The group had a long string of jazz-rock mega hits including: “Make Me Smile,” “Saturday In The Park,” “25 Or 6 To 4,” “Feelin’ Stronger Every Day,” “If You Leave Me Now” and many others. Chicago’s early lineup created such an unmistakable sound and their inclusion into the Rock and Roll Hall of Fame is not only well-deserved, but an honor that has been overlooked. With over 21 Top 10 singles, 5 consecutive Number One albums, 11 Number One singles – fans that stretch across the globe and countless bands that have followed in their wake, Chicago’s legacy is unquestionable.

Selected discography: “Does Anyone Really Know What Time It Is?,” Chicago Transit Authority (1969) • “Make Me Smile,” “25 Or 6 To 4,” Chicago (1970) • “Saturday In The Park,” Chicago V (1972) • “Feelin’ Stronger Every Day,” “Just You ‘N’ Me,” Chicago VI (1973) • “Old Days,” Chicago VIII (1975) • “If You Leave Me Now,” Chicago X (1976) • “Baby What A Big Surprise,” Chicago XI (1977)

The statistics are simply staggering: Over a 46-year recording career, the band has issued 36 albums, sold well over 100 million records, and released 20 Top 10 pop and 22 Top 10 adult contemporary singles (15 of which broke the Top 10 on both charts). It achieved the enviable feat of placing these hits on the Billboard charts in five different decades. 17 of its first 20 albums were certified platinum, nine of those multiplatinum and Chicago 17 hit platinum a whopping six times.

The story of Chicago is one of the most paradoxical in the history of American music. Starting out in the late 1960s as a horn-dominated underground rock band verging on the avant-garde in its use of dissonance, jazz voicings and extended compositions, Chicago initially seemed to have little if any chance of AM radio success. Yet, within a year, the group had three Top 10 singles (“Make Me Smile,” “25 or 6 to 4” and “Does Anybody Really Know What Time It Is”), and were selling out arenas from coast to coast.

On its second LP, in 1970, the group declared, “With this album we dedicate ourselves, our futures, and our energies to the people of the revolution. . . . And the revolution in all of its forms.” Despite that, during its first national tour, the group’s trombonist, primary horn arranger and one of its main composers, James Pankow, stated emphatically: “We know what went on at the Democratic Convention, we know what’s going on in Vietnam, but to protest about that musically makes no sense. People hear about that stuff enough without having it shoved down their throats with music. What music is for is getting away from the problems of life.”

The latter statement would seem to be Chicago’s modus operandi for most of its career. By the 1980s, the group had long ceased to support any revolution, and no one would mistake them for being underground or avant-garde. Under producer David Foster’s tutelage, the band had morphed into a mainstream pop group fronted by bassist Peter Cetera, who seemed able to effortlessly craft one Top 10 power ballad after another (“Hard to Say I’m Sorry,” “Hard Habit to Break” “You’re the Inspiration”), while the horn section that was once one of its most distinguishing characteristics was all but muted.

Chicago was formed in the Windy City in February of 1967 by three DePaul University Music majors: saxophonist/flautist Walter Parazaider, trumpeter Lee Loughnane and trombonist James Pankow, alongside Chicago bar-band veterans keyboardist Robert Lamm, drummer Danny Seraphine and guitar wizard Terry Kath. Lamn originally did double duty, playing the bass parts on the pedals of his organ. Desiring more punch in the low end, the nascent group soon drafted bassist Peter Cetera from Chicago club sensations the Exceptions. In Kath and Lamm, the group had superb bass and baritone lead voices; Cetera’s tenor voice provided both depth and variety.

Initially called the Big Thing, the band relocated to Los Angeles in the summer of 1968, and manager and producer James Guercio changed its name to Chicago Transit Authority. Guercio’s pedigree included playing on Dick Clark package tours in the mid 1960s, briefly managing Chad and Jeremy, producing four hits by the Buckinghams in 1967, and producing the second Blood Sweat & Tears album. The latter association led many to mistakenly assume that Chicago was copying BS&T’s jazz-rock sound. But, in fact, Chicago had already been playing what its members preferred to think of as its own pioneering rock-band-with-horns sound in Chicago and L.A. clubs for two years before it heard BS&T. It is worth noting that just as Chicago was coming together as the Big Thing in early 1967, the Electric Flag was also pioneering its own concept of a rock band with horns.

Shortly after the release of its debut album in April 1969, the band received a cease-and-desist order from the actual Chicago Transit Authority. Consequently, from late 1969 onward, the group became known simply as Chicago.

With Guercio calling the shots, right out of the box Chicago marched to a different drummer. Four of its first seven albums were double sets. The fifth was the massive and unprecedented four-disc Chicago at Carnegie Hall, documenting a weeklong stint at the venerable concert venue in April 1971. Similarly audacious was Guercio’s decision to number, rather than title, the majority of the group’s albums, reasoning that if classical composers simply numbered their compositions, why not his group?

Instead of images of the band’s members, each album featured the group’s distinctive, stylized logo (designed by Nick Fasciano), creating brand recognition on the level of Coca-Cola or McDonald’s. It would not be until Chicago’s tenth studio album, 1978’s Hot Streets, that the cover featured photos of actual members. The net effect was that individual identities were subsumed under that of the band as a whole. This would prove extremely useful over time, as key members were replaced – the late Kath in 1978, Cetera in 1985 and Seraphine in 1990. While core fans were obviously aware of these changes, most likely the majority of Chicago’s audience hardly noticed.

Guercio’s tenure with the group from 1969 through late 1977 and Chicago XI would prove to be its golden period, producing the vast majority of the band’s best known songs, including such classic radio staples as “Color My World,” “Saturday in the Park,” “Just You ’n’ Me,” “Feelin’ Stronger Every Day,” “Old Days,” “If You Leave Me Now,” and “Baby, What a Big Surprise.” As Robert Lamm said in 2000, “The first 11 albums are Chicago, and Guercio’s genius was that he captured it, and no other producer [was able to] capture it.”

Not long after the group severed its relationship with Guercio in 1977, guitarist Terry Kath tragically died while playing with a gun he thought was not loaded. Kath was an extraordinarily soulful vocalist (“Make Me Smile,” “Hope for Love”) and a pyrotechnic guitar wizard as evidenced by “Free Form Guitar” from the group’s debut album, his slicing leads on “25 or 6 to 4,” and his moving elegy to Jimi Hendrix titled “Oh, Thank You Great Spirit.” The group would go through three more guitarists before finally settling on Keith Howland in 1995. As capable as each was, none of these ax wielders would replace the spirit, soul and musicality that Kath had brought to the group.

After three disappointing albums with first Phil Ramone and then Tom Dowd taking on the producer’s mantle, Chicago was bought out of its Columbia Records contract. Signing to Full Moon/Warner Bros., the band drafted keyboardist and vocalist Bill Champlin (formerly of the San Francisco staple Sons of Champlin) and let go Brazilian percussionist Laudir de Oliveira (who had joined beginning with Chicago VII in 1974). Handing over the reins to producer David Foster, beginning with Chicago 16 in 1982, the group drew on the earlier success of Peter Cetera ballads, such as “If You Leave Me Now,” and was reborn as a singles-oriented, power ballad juggernaut.

Foster would end up cowriting many of the songs on the next three albums (Chicago 16 through 18), bringing session musicians in to replace or augment the talents of the original band members, liberally employing drum machines and relegating the group’s horn section to the background. Things would never be the same.

By 1985, Peter Cetera left to embark on a solo career, and was replaced by Jason Scheff. Reborn yet again, Chicago managed to achieve gold sales with Chicago 18 and platinum with 19, but after firing drummer Danny Seraphine in 1990, the band basically ceased to be a commercial force. With Tris Imboden replacing Seraphine, Chicago Twenty 1 failed to produce a hit. At this point, Chicago began to tread water. Over the next two decades, it released Night and Day (1995), an album of big-band standards originally cut by Glenn Miller, Duke Ellington, and Benny Goodman; two Christmas albums; six compilations; and two live sets. Chicago XXX (2006) was the first studio album of new original material since 1991. With the exception of 2008’s Chicago XXXII: The Stone of Sisyphus, recorded in 1993, the only subsequent album of new material was Now, put out by the group’s label, Chicago Records, in 2014. That year, the group was inducted into the Grammy Hall of Fame. In 2015, Chicago released yet another live set, Chicago at Symphony Hall Featuring the Chicago Symphony Orchestra.

Despite the lack of new material over the past 25 years, Chicago has remained a steady box office draw. Millions of fans are still happy to hear the group’s stunning legacy of hit singles, which collectively cover an extraordinary variety of musical styles from funk to rock to jazz to blues to classical to pop ballads.

With that in mind, perhaps it’s fitting to let founder Walter Parazaider sum up the band’s appeal, and ultimately its greatest strength: “There were so many diverse personalities in this group that sometimes I had to wonder why this didn’t blow up after about a year’s worth of success. But we loved music so much. Peter wrote country tunes on the third album. . . . Jimmy Pankow was a stone-cold jazzer who loved the Beatles. Lee Loughnane loved playing big-band jazz, but loved rock and roll. The same thing with myself. And then you had people who loved the Jimi Hendrix stuff, like Terry, or just rock and roll stuff, like Danny, and if you think about it, there is everything from blues, classical, the big-band sound. It became a meld into the band where any kind of music, as long as it was played well, was valid.”

Thirty-six albums and 46 years later, the results speak for themselves.

 

By Rob Bowman

https://www.rockhall.com/inductees/chicago

THE 2016 ROCK AND ROLL HALL OF FAME INDUCTEE EXHIBIT

https://www.rockhall.com/rock-roll-hall-fame-open-2016-inductee-exh...


Chicago

With over 21 Top 10 singles, five consecutive Number One albums, 11 Number One singles, fans that stretch across the globe and countless bands that have followed in their wake, Chicago’s legacy is unquestionable. 

Influences in their sound reflect The Benny Goodman Orchestra, Jimi Hendrix Experience (Inducted 1992), and the Paul Butterfield Blues Band (Inducted 2015) and their legacy lives on with artists such as Journey, Toto, and Sufjan Stevens. 

Included in the exhibit, visitors will experience Chicago through items such as “Saturday in the Park” lyrics handwritten by Robert Lamm in 1972. The song reached Number Three, becoming Chicago’s highest charting single to date and is often a featured song during Saturday baseball games at Chicago’s Wrigley Field.

Additional exhibit connections visitors can enjoy include Legends of Rock, lyrics “From the Collection of Library & Archives” on level three, Jimi Hendrix, and Doc Pomus’ “Save the Last Dance for Me” lyrics in the Rave On case.

The Songwriters Hall Of Fame is next!!

THE ROCK AND ROLL HALL OF FAME INDUCTEES
THE YEAR BEFORE AND THE YEAR AFTER CHICAGO'S INDUCTION

THE 2015 ROCK AND ROLL HALL OF FAME INDUCTEES

The Paul Butterfield Blues Band * Joan Jett And The Blackhearts *
Stevie Ray Vaughan And Double Trouble * The "5" Royales *
Bill Withers * Lou Reed * Ringo Starr * Green Day *

THE 2016 ROCK AND ROLL HALL OF FAME INDUCTEES

Chicago * Cheap Trick * Deep Purple * Steve Miller * Bert Berns * N.W.A

THE 2017 ROCK AND ROLL HALL OF FAME INDUCTEES

Joan Baez * Nile Rodgers * Yes * Journey *
Electric Light Orchestra * Pearl Jam * Tupac Shakur

Rock and Roll Hall of Fame, Classes 1986 through 2017, an interactive guide

http://www.cleveland.com/pdgraphics/index.ssf/2017/03/rock_and_roll...

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