My Top 5 Live Albums Turning 50

Three make a charm. Here’s my third and probably last look for now at 1971. Previously, I mused about my top 5 studio records and my top 5 debut albums that appeared during this remarkable year in music. Now it’s time for my top 5 live albums turning 50 this year.

Similar to debuts, narrowing the universe to live albums substantially reduced the choices compared to studio albums. That being said, I was surprised how many live albums appeared in 1971. For the purposes of my fun exercise, I considered 14 live records. Here are my five favorites. This time, I decided to list them according to their release date.

Elton John/17-11-70

This early Elton John album was new to me. Released on April 1, 1971, it was John’s fifth record overall and his first live release – and, boy, what a great album! It captured a live radio broadcast from November 17, 1970 – hence the title. This was an unplanned album, which was triggered by bootlegs. From a strictly commercial perspective, it turned out it didn’t quite work. A 60-minute bootleg, which included 12 more minutes of John’s music than the officially sanctioned live album, is believed to have impacted sales of the latter. An extended 2-LP edition was released for Record Store Day in 2017. Regardless of the original album’s commercial performance, the music is fantastic. Here’s closer Burn Down the Mission, a tune John initially included on his third studio album Tumbleweed Connection from October 1970. As usual, he composed the music while his long-time partner Bernie Taupin provided the lyrics. This is an extended version that incorporates parts of Arthur Crudup’s My Baby Left Me (starting at around 10:30) and The Beatles’ Get Back (starting at about 14:10). At 18 minutes plus, it can compete with prog rock, but listening to John demonstrating his rock piano chops is a lot of fun! BTW, the guy playing that groovy bass is Dee Murray, who was a longtime member of John’s backing band.

Crosby, Stills, Nash & Young/4 Way Street

4 Way Street, released on April 7, 1971, is the first live album by Crosby, Stills, Nash & Young. It includes footage from gigs at Fillmore East (New York), The Forum (Los Angeles) and Auditorium Theatre (Chicago) recorded during CSNY’s 1970 tour. By the time they played these shows, tension between the members had grown to intense levels, and the band dissolved shortly after the double-LP’s appearance – egos in rock! Sides one and two are acoustic and are primarily focused on the individual members, while sides 3 and 4 are electric, featuring the full band playing together. Here’s Ohio, written by Neil Young, and first released as a single by CSNY in June 1970 to protest the Kent State shooting that had occurred on May 4 of the same year.

The Allman Brothers Band/At Fillmore East

At Fillmore East by The Allman Brothers Band is perhaps the ultimate southern and blues rock album and one of the best live albums ever. Released on July 6, 1971, it features music from three of the band’s concerts at the legendary New York City music venue that occurred in March 1971. The Allman Brothers’ third album overall also marked the band’s commercial breakthrough, climbing to no. 13 on the Billboard 200. As of August 1992, At Fillmore East has reached Platinum status. In 2004, it was selected for preservation in the Library of Congress, deemed to be “culturally, historically, or aesthetically important”¬†by the National Recording Registry. Rolling Stone ranked the album at no. 49 in their 2003 list of The 500 Greatest Albums of All Time. In the list’s latest revision from September 2020, it still came in at a respectable no. 105. Here’s Hot ‘Lanta, an instrumental the Allman Brothers debuted on this live album. It is credited to all members of the band at time: Duane Allman (lead guitar, slide guitar), Gregg Allman (organ, piano, vocals), Dickey Betts (lead guitar), Berry Oakley (bass), Jai Johanny Johanson (drums, congas, timbales) and Butch Trucks (drums, tympani). These harmony guitar parts combined with Greg Allman’s Hammond are just out of this world!

Chicago/Chicago at Carnegie Hall

Chicago’s fourth album overall and their first live release, Chicago at Carnegie Hall, released on October 25, 1971, falls into the band’s early period, which is my favorite. As such, it immediately made my list of live albums I considered for my top picks. The 4-LP set was recorded from shows Chicago played at New York’s prominent concert venue for a week in April 1971 during their supporting tour for Chicago III, the band’s third studio album that had come out in January of the same year. “The reason behind the live record for Carnegie Hall is, we were the first rock ‘n’ roll group to sell out a week at Carnegie Hall, and that was worth rolling up the trucks for, putting the mikes up there, and really chronicling what happened in 1971,” co-founding band member Walter Parazaider told William James Ruhlmann, who wrote the liner notes for the 1991 Chicago compilation Group Portrait. Not all members were happy with the outcome. James Pankow, one of three co-founders who remain in the current line-up of Chicago, felt the venue’s acoustics weren’t made for amplified music, comparing the sound of the brass to kazoos. In 2005, a remastered version of the album with improved sound quality appeared. And earlier this month, Rhino Records announced a 50th anniversary 16-CD box set titled Chicago Live At Carnegie Hall Complete. It’s slated for July 16. Meanwhile, here’s the amazing 25 Or 6 To 4. Written by Robert Lamm, the tune first appeared on Chicago’s eponymous second studio album from January 1970 (also known as Chicago II).

George Harrison & Friends/The Concert for Bangladesh

I trust The Concert for Bangladesh doesn’t need much of an introduction. This 3-LP album captured the pioneering music charity event that had been organized by George Harrison to raise money for war-ravaged and disaster-stricken Bangladesh and took place at New York’s Madison Square Garden on August 1, 1971. The two concerts conducted for UNICEF, which raised from than $243,000 at the time, featured an incredible line-up of artists, who in addition to Harrison included Ravi Shankar, Bob Dylan, Leon Russell, Ringo Starr, Billy Preston and Eric Clapton, among others. The event brought Harrison and Starr together on stage for the first time since 1966 when The Beatles had stopped to tour. It also marked Dylan’s first major concert appearance in the U.S. for five years. I recall reading somewhere Harrison literally didn’t know whether Dylan would show up until he walked out on stage. Here’s Harrison’s While My Guitar Gently Weeps, which was first appeared on The Beatles’ White Album from November 1968.

Sources: Wikipedia; YouTube

The Sunday Six

Celebrating music with six random songs at a time

It’s a gray and rainy Sunday morning in New Jersey, at least in my neck of the woods. But I’m determined not to let that bring me down. Plus, we’ve had plenty of sunshine over the past couple of weeks, so there’s no good reason to complain and every reason to expect the sun will come back. Most importantly, bad weather isn’t a deterrent to listen to great music. In fact, one could argue a rainy day is a perfect opportunity to do just that. And, guess what, I have some suggestions! ūüôā

ShwizZ /Clock Tower

Let’s get into the mood with an amazing brand new rock instrumental by ShwizZ. I had never heard of the group until Friday when I spotted the below clip on Facebook. I’m not even sure how to properly pronounce that name! According to their website, ShwizZ is a one of a kind powerhouse from Nyack, New York.¬†Drawing a substantial influence from classic progressive rock and funk, they consistently put their musical abilities to the test to deliver a high intensity and musically immersive show. ShwizZ call out Frank Zappa, Yes, P-Funk and King Crimson as their influences – notably, all artists I essentially don’t listen to, except for Yes. Still, Clock Tower grabbed me right away! The band’s members include Ryan Liatsis (guitar), Will Burgaletta (keyboards), Scott Hogan (bass) and Andrew Boxer (drums). I know Scott who is a very talented bassist. Frankly, when I see him play, sometimes, I ask myself ‘what’s the point’ of me trying. But while skill is great, at the end of the day, playing an instrument should be about fun first and foremost. Anyway, after I watched the video, I messaged Scott with a few inquisitive questions. I think he has no idea I’m writing about him – sneaky, huh? Anyway, he told me ShwizZ have been around for about 10 years. He joined them 1.5 years ago. Most of their music is instrumental. Their website lists a few albums and singles, including Clock Tower, which was released as a single on Friday, April 8. Apparently, they’re working on other new music. Meanwhile, let’s give this cool-sounding tune a listen!

Gerry Rafferty/Baker Street

From the very first moment I heard Baker Street by Scottish singer-songwriter Gerry Rafferty, I loved that tune. The saxophone part by Raphael Ravenscroft and the guitar solo by Hugh Burns still give me the chills. Rafferty wrote Baker Street for his second studio album City to City that came out in January 1978. The song was also released separately as a single and became Rafferty’s biggest hit, peaking at no. 2 and no. 3 in the U.S. and the UK, respectively, and charting within the top 10 in various other European countries. In Australia, it went all the way to no. 1. Rafferty had a complicated relationship with fame and the music industry, and unfortunately, he struggled with alcoholism and depression. On January 4, 2011, Rafferty passed away from liver failure at the untimely age of 63. Primarily fueled by Baker Street, City to City ended up to become his most successful album. Altogether, Rafferty released 10 albums during his solo recording career from 1971 to 2009. He also gained popularity as co-founder of Scottish folk rock band Stealers Wheel and their hit Stuck in the Middle with You.

Muddy Magnolias/Broken People

In December 2016, about seven months after I had started the blog, I named Muddy Magnolias “my new discovery for 2016 I’m most excited about.” Then the now-defunct duo of African American singer-songwriter Jesse Wilson from Brooklyn, New York, and Kallie North, a white pianist from Beaumont, TX, kind of fell off my radar screen until I remembered them out of the blue the other day. They got together in 2014 and released an amazing album titled Broken People in October 2016. The music represents an intriguing blend of each artist’s background. Wilson‚Äôs influences include¬†Aretha Franklin,¬†Smokey Robinson,¬†Lauren Hill,¬†Mary J. Blige¬†and¬†The Notorious B.I.G., while North grew up listening to artists like¬†The Carpenters,¬†Alison Krauss,¬†James Taylor¬†and¬†Eagles. Unfortunately, the duo dissolved at the end 0f 2017. Wilson went on by herself and released her debut solo album Phase in May 2019, which was produced by Patrick Carney, the drummer of The Black Keys. No idea what happened to North who apparently initiated the duo’s breakup. While Muddy Magnolias only released one album, they certainly made it count. Here’s the cool title track.

Tom Faulkner/Lost in the Land of Texico

A few weeks ago, my longtime music buddy from Germany recommended that I check out Tom Faulkner and his 1998 album Lost in the Land of Texico. Usually, he has a good idea what will appeal to me, and once again he was right! While the singer-songwriter and producer, who was born in New Orleans, already at the age of five knew music was his calling, unfortunately, it appears he never quite broke through as a music artist. To date, decades into his career, Faulkner has only released two albums: Lost in the Land of Texico (1997) and Raise the Roof (2002). For the most part, he has made his living with commercial music for radio and TV. As his bio on last.fm notes, Faulkner has created hundreds of national jingles and scores, including some of the most memorable commercial music on television and radio. Most notably, he composed and sang the wildly popular ‚ÄúI Want My Baby Back‚ÄĚ for Chili‚Äôs, a jingle that has since found its way into motion pictures (Austin Powers) and over a dozen major network TV shows. He also created the multi-award winning music theme for Motel 6 and Tom Bodett, the longest running commercial campaign in the history of advertising (23 years, 5 CLIOs, and counting). As of June 2019, when his bio was last updated, Faulkner was working on his third CD. Here’s the bluesy title track, which has a nice musical New Orleans flavor.

The Subdudes/Light in Your Eyes

Let’s stay with New Orleans and The Subdudes, another great tip from my German music friend. This band from The Big Easy blends folk, swamp pop, New Orleans R&B, Louisiana blues, country, cajun, zydeco, funk, soul and gospel into a tasty musical gumbo. They have been around since 1987 with breaks from 1996-2002 and 2011-2014. The band’s current members include Tommy Malone (vocals, guitar), John Magnie (vocals, accordion, keyboards), Steve Amed√©e (tambourine, drums, other percussions, vocals), Tim Cook (percussion, bass, vocals) and Jimmy Messa (bass, guitar), which is almost still their original line-up. Since their eponymous debut from 1989, The Subdudes have released nine additional studio and two live albums. Light in Your Eyes is a track from the band’s first album. It was co-written by Malone and Johnny Ray Allen, the band’s former bassist. The Subdudes’ harmony singing and the warm sound of their music are sweet. Check it out!

Chicago/Free

As has sort of become a Sunday Six tradition, the last tune I’d like to highlight is a rocker: Free by Chicago. Formed as The Chicago Transit Authority in The Windy City in 1967, a name that after the threat of legal action from Chicago’s actual transit authority was shortened to Chicago, the band doesn’t need much of an introduction. They started out as a rock group with horns before moving to an easy listening sound that was dominated by ballads, especially in the late ’70s and ’80s. Over their nearly 55-year career, Chicago have seen numerous line-up changes, as you’d expect. Notably, the current 10-piece still includes original members Robert Lamm (keyboards, lead vocals), Lee Loughnane (trumpet, flugelhorn, backing vocals) and James Pankow (trombone, backing vocals). Free dates back to a period when Chicago were rockin’ and on a true roll: Chicago III, the group’s third consecutive double album in less than two years. Written by Lamm, Free is part of the so-called Travel Suite of tunes that make up side 2 of the double LP. Featuring amazing lead guitarist Terry Kath on lead vocals, the tune also became the album’s lead single in February 1971. It’s hard for me to say and I’m sorry, while Chicago’s ’80s ballads were popular, it’s the rock & horns songs like Free where the band truly shines.

Sources: Wikipedia; ShwizZ website; last.fm; YouTube

LeRoux’s First New Album in 18 Years Serves Tasty Gumbo of Blues, Southern Rock and Zydeco

Until Friday, I had never heard of LeRoux, aka Louisiana’s LeRoux. Then I came across their great song Lucy Anna and featured it in my latest Best of What’s New installment. The tune, which has a nice Little Feat vibe, is from the Baton Rouge-based group’s new album One of Those Days. Earlier today, I found myself in the car and spontaneously decided to listen into the album. All it really took to realize I’m going to dig this music were the first minute or two of the opener and title track – sometimes you just know right away!

Released on July 24, One of Those Days is LeRoux’s first new album in 18 years since 2002’s Higher Up. Prior to that, five of their six earlier records came out between 1978 and 1983. What evidently were the band’s most active years coincided with the period that lasted until their first breakup in 1984 after they had been dropped by their label RCA. However, they already regrouped in 1985. As explained on their website, the band took their name from “the Cajun French term for the thick and hearty gravy base that’s used to make a gumbo,” a rich, thick soup with meat or shellfish and vegetables that’s popular in Louisiana.

LeRoux (from left): Front: Tony Haselden (vocals, guitars) and Jim Odom (guitars); Back: Randy Carpenter (drums), Joey Decker (bass, backing vocals), Jeff McCarty (vocals), Mark Duthu (percussion), Nelson Blanchard (keyboards, vocals) and Rod Roddy (vocals, keyboards)

It doesn’t look like LeRoux ever had a significant national breakthrough, at least not based on chart performance. Their most successful single, which somewhat ironically was titled Nobody Said It Was Easy (Lookin’ For The Lights), peaked at no. 18 on the U.S. Billboard Hot 100 – to be clear, I’m not saying this makes them a bad band. After all, I wouldn’t be writing about them if I thought they suck. I’m simply stating some facts.

As you would expect from a group that has been around for more than 40 years, LeRoux have seen many changes in their line-up. Apparently, two of the co-founding members, Tony Haselden (vocals, guitars) and Rod Roddy (vocals, keyboards), are still around. The current line-up also features Jim Odom (guitars), Nelson Blanchard (keyboards, vocals), Mark Duthu (percussion), Randy Carpenter (drums), Jeff McCarty (vocals) and Joey Decker (bass, backing vocals). Except for Decker who joined in 2014, most of the other members have been with the band for at least 10 years.

Let’s get to some music. A great place to start is the aforementioned opener and title track co-written by Odom and Haselden. Here’s the official video. I just love the warm sound, the guitars and keyboard work. I can hear some Allman Brothers and some Doobies in here. What a great tune! Why aren’t these guys better known, or is it just my ignorance?

No One‚Äôs Gonna Love Me (Like The Way You Do) is another great tune. It was written by Dustin Ransom, who per Wikipedia is a Nashville-based multi-instrumentalist, producer, vocalist, arranger, music transcriber and film composer – jeez, I guess they forgot to add over-achiever! And, oh, yeah, he’s 33 years old. Man, check out these harmonies and tell me this doesn’t sound friggin’ awesome!

Next up: Don’t Rescue Me, another Odom-Haselden co-write. This one reminds me a bit of Lynyrd Skynyrd. No matter what influence may be in there, it’s just a solid tune – love that opening guitar riff, and there’s more great harmony singing!

On After All, LeRoux are slowing it down a bit. Coz you gotta take a break from going full throttle every now and then after all! ūüôā The tune was co-written by Randy Sharp and Donald Anderson. According to Wikipedia, over the past 40 years, Sharp’s songs have been performed by the likes of Linda Ronstadt, Blood Sweat and Tears, Edgar Winter and Emmylou Harris.

Here’s one more: Lifeline (Redux), a groovy rocker co-written by Odom, Haselden and McCarty. Apparently, it’s a new version of a tune the band initially recorded for their fifth studio album So Fired Up from 1983, the last release prior their first breakup.

‚ÄúIt‚Äôs the best combination of LeRoux’s musical palette¬†and represents the abilities of the band better than any album we‚Äôve probably ever done,” Haselden notes in a statement on the band’s website.¬†“It covers a wide spectrum of blues, southern rock, and zydeco.‚ÄĚ Now you know from where I got the inspiration for the post’s headline!

I can’t speak to other LeRoux records, but what I do know is One of Those Days is a great-sounding album I’m very happy I found. Last but not least, I should also mention some notable guests: Blues guitarist Tab Benoit; original Toto vocalist Bobby Kimball; and Bill Champlin, former longtime keyboarder and guitarist of Chicago.

Sources: Wikipedia; LeRoux website; YouTube

On This Day In Rock & Roll History: January 23

Even though I’ve already done numerous installments for this recurrent feature, many of the 365 dates remain to be explored. Let’s take a look at some of the events on January 23 in rock & roll history.

1956: Cleveland, Ohio banned rock & roll fans under the age of 18 from dancing in public unless accompanied by an adult, after the Ohio police had re-introduced a law dating back to 1931. Music bans rarely work, and there was no way young people could be kept away from rock & roll. Ironically, 27 years later, the very same city saw¬†the founding of the Rock & Roll Hall of Fame. The times they are a-changin’.

50s dance ban

1965: Petula Clark¬†hit no. 1 on the Billboard Hot 100 with Downtown, the first female singer from the U.K. to reach the top of the U.S. chart since Vera Lynn in 1952. The tune, which peaked at no. 2 in the U.K., was written by Tony Hatch, who also produced it for Clark. The song’s recording session on October 16, 1964 at Pye Studios in London was attended by a popular studio guitarist. His name: Jimmy Page. That same year, his session work also included As Tears Go By (Marianne Faithfull), Heart Of Stone (The Rolling Stones) and Baby, Please Don’t Go (Them), among others.

1969: The Beatles were working at Abbey Road Studios as part of the Get Back/Let It Be sessions. They spent a great deal of time on Get Back, recording an impressive 43 takes of the Paul McCartney tune, none of which was officially released. Their efforts eventually would pay off during their rooftop concert. And, yes, they passed the audition!

1971: George Harrison reached no. 1 on the¬†Official Singles Chart¬†in the U.K. with My Sweet Lord, becoming the first former member of The Beatles to top the charts as a solo artist. The tune appeared on All Things Must Pass, Harrison’s first solo album following the band’s breakup. My Sweet Lord peaked at no. 1 in many other countries as well, including the U.S., Canada and Australia. It also made Harrison the first and only ex-Beatle to find himself embroiled in¬†major copyright infringement litigation. The lawsuit alleged My Sweet Lord plagiarized¬†He’s So Fine, a tune Ronnie Mack had written for The Chiffons, giving them a no. 1 single in the U.S. in 1963. In September 1976, a New York judge ruled that Harrison had “subconsciously copied” Mack’s tune. Subsequent litigation over damages dragged on until 1998.

1976: David Bowie released his 10th studio album Station To Station. It became his highest-charting record in the U.S. during the ’70s, climbing to no. 3 on the Billboard 200. The record also catapulted the¬†Thin White Duke¬†into the top 10 in various other countries, including the U.K. (no. 5), Australia (no. 8), The Netherlands (no. 3), Norway (no. 8) and New Zealand (no. 9). In 2012, Rolling Stone ranked Station To Station at no. 324 on their list of 500 Greatest Albums of All Time. Here’s the closer Wild Is The Wind, which like all tracks was written by Bowie.

1978: Terry Kath, best known as a founding member of Chicago, accidentally shot himself dead. Following a party, he started playing around with guns, held a pistol he thought was empty to his temple and pulled the trigger. The freak accident happened only a few days prior to what would have been his 32nd birthday. Referring to Kath,¬†Jimi Hendrix reportedly once told Chicago’s saxophone player Walter Parazaider that “your guitar player is better than me.” Regardless whether Hendrix meant it or not, there’s no question that Kath was an ace guitarist. Here’s I Don’t Want Your Money, which was co-written by him and Robert Lamm, and appeared on Chicago’s third studio album¬†Chicago III from January 1971.

Sources: Wikipedia, This Day in Music.com, The Beatles Bible, YouTube

What I’ve Been Listening To: Crosby, Stills, Nash & Young/4 Way Street

As oftentimes seems to happen lately, this post was inspired by a coincidence – earlier this week, I spotted 4 Way Street¬†by Crosby, Stills, Nash & Young in my Apple Music album suggestions. While I had been aware of the record (and somewhere still must have a taped recording on music cassette!), unlike¬†D√©j√† Vu, it had pretty much exited my radar screen. But it didn’t even take the 34 seconds of the opener Suite: Judy Blue Eyes to remind me what a killer album it is. As such, it felt appropriate to dedicate the 50th installment of the What I’ve Been Listening To feature to this gem.

Originally released in April 1971 as a double LP, 4 Way Street captured music from a turbulent 1970 U.S. tour CSNY conducted after the release of Déjà Vu in March that year. It includes material from gigs at Fillmore East (New York, June 2-7), The Forum (Los Angeles, June 26-28) and Auditorium Theatre (Chicago, July 5). CSNY were at a peak both artistically and in terms of tensions between them. Unfortunately, the latter proved to be unsustainable, and they broke up right after the recording of the album.

CSNY 1970
From left to right: Graham Nash, David Crosby, Neil Young and Stephen Stills at Fillmore East, New York, 1970

Of course, CSNY never were a traditional band to begin with, but four exceptional singer-songwriters who ended up playing together, mostly as CSN, with Young becoming an occasional fourth member. Each already had established himself as a member of other prominent bands: Crosby with The Byrds, Stills and Young with Buffalo Springfield, and Nash with The Hollies. Additionally, Crosby had released his first solo album, while the prolific Young already had two solo records out – his eponymous debut and the first album with Crazy Horse.

Given their history and egos, it’s not a surprise that CSNY wasn’t meant to last. But while it was going on, it was sheer magic. Apart from¬†D√©j√† Vu, I think this live album perfectly illustrates why, so let’s get to some music!

First up: Teach Your Children, undoubtedly one of the best known CSNY songs, first appeared on the Déjà Vu album. The tune was written by Nash when he was still with The Hollies.

Triad is a song Crosby wrote while working with The Byrds on their fifth studio album The Notorious Byrd Brothers. Although they recorded the song and performed it during a live gig in September 1967, it didn’t make the record. Crosby ended up giving it to Jefferson Airplane, and they included it on their fourth studio album Crown Of Creation from September 1968. Perhaps even more intriguing than the tune is listening to Crosby’s announcement.

Chicago is a song by Nash, which he dedicated to Richard Daley, who was then the city’s powerful mayor. It’s about anti-Vietnam war and counter-cultural protests around the 1968 Democratic National Convention in Chicago, and the ensuing federal charges against eight protesters who became known as the Chicago Eight¬†for conspiracy to incite a riot. Nash also included the tune on his debut solo album Songs For Beginners, which was released in May 1971.

Cowgirl In The Sand is one of Young’s great early songs, which initially appeared on his second studio album Everybody Knows This Is Nowhere, the first of many he recorded with his backing band Crazy Horse. Songfacts points out the liner notes to Young’s 1977 compilation album Decade explain that he wrote Cowgirl In The Sand, together with Down By The River and Cinnamon Girl in a single afternoon while being sick with a 103 degree temperature – it’s quite amazing what a fever can do!

The last tune on the first LP of 4 Way Street¬†is Still’s Love The One You’re With,¬†which also concludes CSNY’s acoustic set. The song became the lead single to Stills’ eponymous debut album from November 1970. It climbed all the way to no. 14 on the Billboard Hot 100, making it his biggest hit single.

The second LP of 4 Way Street captures songs from CSNY’s electric rock-oriented set. Long Time Gone is a tune by Crosby, which was included on CSN’s eponymous studio debut from March 1969. Not that¬†D√©j√† Vu would have needed any additional strong tunes, but it would have been a perfect fit for that album as well!

Southern Man is another classic by Young, which he included on his third studio album After The Gold Rush released in September 1970. Together with Alabama from his follow-on record Harvest, it triggered a response by Lynyrd Skynyrd with southern rock anthem Sweet Home Alabama.¬†While that tune explicitly tells him to take a hike, the band and Young were actually mutual fans, and there never was a serious feud between them. Young in his 2012 autobiography Waging Heavy Peace: A Hippie Dream said his words in Southern Man were “accusatory and condescending, not fully thought out, and too easy to misconstrue.”

While with so much great material on the album I could easily go on and on calling out tunes, the last track I’d like to highlight is Carry On. Written by Stills, it’s another gem from¬†D√©j√† Vu. Like Southern Man, the take of Carry On on 4 Way Street is an extended version.

4 Way Street’s¬†musicians include Crosby (vocals, guitar), Stills (vocals, guitar, piano, organ), Nash (vocals, guitar, piano, organ), Young (vocals, guitar), Calvin “Fuzzy” Samuels (bass) and Johnny Barbata (drums). The album was produced by CSNY. In June 1992, an expanded CD version appeared, which was produced by Nash and included four solo acoustic performances, one by each artist.

Like¬†D√©j√† Vu,¬†the record topped the Billboard 200. It was certified Gold by RIAA just a few days after its release. On December 18, 1992, U.S. sales hit 4 million certified units, giving it¬†4X Multi-Platinum status. Unlike¬†D√©j√† Vu, interestingly, the album didn’t make Rolling Stone magazine’s 500 Greatest Albums Of All Time.

Sources: Wikipedia, Songfacts, YouTube

Chicago Is Turning 50

The self-described “rock & roll band with horns” has come a long way since its origins in Feb 1967.

While the past few years have seen various 50th anniversary celebrations of rock bands that started in the 60s, such as the Beach Boys, Cream and this year The Doors, only very few have consistently performed for five decades. Chicago is one of them. The only other band I can think of that can truly match this record is The Rolling Stones.

Chicago’s story started in Feb 1967 – according to a¬†Daily Herald¬†article I found, it was Feb 15 that year. Then,¬†James Pankow (trombone, keyboards, percussion, vocals), Walter Parazaider (woodwinds, backing vocals), Terry Kath (guitar, bass, vocals), Danny Seraphine (drums, percussion), Lee Loughnane (trumpet, guitar, percussion, vocals), Robert Lamm (keyboards, vocals) and Peter Cetera (bass, guitar, vocals) formed a band called “The Big Thing.” While the lineup has changed numerous times over the years, Pankow, Parazaider, Loughnane and Lamm have remained as original members.

Initially, The Big Thing was a cover band playing top 40 hits. Prompted by their manager, James William Guercio, they moved to Los Angeles in June 1968, got a contract with Columbia Records and changed their name to Chicago Transport Authority. At that time, they had started to work on own material. In April 1969, CTA released its eponymous double album, which by 1970 had sold over one million copies. Among others, it includes the classic Does Anybody Really Know What Time It is? and a great cover version of the Spencer Davis Group’s I’m A Man.

The album’s¬†fusion of jazz and rock is reminiscent of Blood, Sweat & Tears, which is not a coincidence. A few months earlier, Guercio had produced that band’s hugely successful eponymous second studio album. During CTA’s tour to support their debut album, the actual transit authority of Chicago threatened legal action, forcing the band to shorten its name to Chicago. Just nine months later, in January 1970,¬†Chicago released its second studio album, Chicago, another double release that later became known as Chicago II. It featured three top 10 Billboard Pop Singles, including Make Me Smile, Color My World and my favorite Chicago tune,¬†25 or 6 to 4.

After an extended tour, the band’s third studio album appeared in January 1971. While Chicago III, yet another double album,¬†did not yield any major hits, it saw the band introduce new musical styles, including funk and country. A great example is the opener Sing a Mean Tune Kid, which features a cool funky guitar sound by Terry Kath. Kath also shines with Jimi Hendrix-like guitar riffs on I Don’t Want Your Money. Speaking of Hendrix, he once told Parazaider, “Your horn players are one set of lungs and your guitar player is better than me.”

Chicago continued to release new studio albums each year. Chicago X, the band’s eighth studio release appearing in June 1976, yielded its first No. 1 single, If You Leave Me Now. Written by Cetera, the Grammy award-winning ballad prominently features string arrangements and acoustic guitars, foreshadowing the band’s focus on pop ballads during the “Cetera era.” This was continued with Cetera’s¬†Baby, What a Big Surprise on the follow-up,¬†Chicago XI, though in the wake of its releases the album brought more change to Chicago than continuity. It was the band’s last record prior to Kath’s accidental death with a gun and the last album produced by Guerico.

Chicago 16, released in 1982, completed the band’s full transition to soft rock, driven by Cetera and new producer David Foster. The ballad Hard to Say I’m Sorry became Chicago’s second No. 1 single in the U.S. The follow-up, 1984’s Chicago 17, continued the successful formula. It became Chicago’ best-selling album, fueled by four top 10 singles: You’re the Inspiration, Hard Habit to Break, Stay the Night and Along Comes a Woman. While the band enjoyed unprecedented commercial success, tensions rose over Cetera’s and Foster’s artistic dominance.

According to a CNN documentary, Now More Than Ever: The History of Chicago, which aired on Jan 1, 2017, the other band members felt that Cetera increasingly regarded Chicago as his back-up band. Cetera who had physically shaped up also became the focus in the band’s videos recorded for MTV. The cameras mostly ignored the rest of the band. Things came to a boil when Cetera started a solo career and sought an arrangement where Chicago would take breaks after tours to allow him to focus on his solo work. The band rejected, and by the summer of 1985 Cetera was out.

Interestingly, Chicago continued to work with Foster on 1986’s Chicago 18, before switching to Ron Nevison who produced the next two albums, Chicago 19 (1988) and Twenty 1 (1991). Starting with that album, the band slowed down the pace of new releases. Since then, seven Chicago albums have appeared, including two Christmas albums, compared with 16 during the band’s first 25 years.

Last year, Chicago was inducted into the Rock & Roll Hall of Fame, together with Cheap Trick, Deep Purple, Steve Miller and N.W.A.. But sadly, this milestone was not all harmony. While Seraphine reunited with his former band mates, Cetera stayed away after the band had rejected his proposal to perform 25 or 6 to 4 in the key of E, four notes lower than the original. In a Rolling Stone interview, Lamm explained, “if it’s just a four-piece band you can do it, but with horns, you got to transfer those…It’s not something we wanted to do for a one-off.”

Chicago has sold more than 100 million records, making it one of the world’s best-selling bands of all time. They have had five no. 1 albums and 21 top ten singles. Among American bands, their success in Billboard singles and album charts is only second to The Beach Boys. Chicago continues to perform live prolifically and is currently doing a 50th anniversary tour across the U.S. This will include 30 co-headlining dates with the Doobie Brothers from early June until the end of July.

Here is a nice clip of Chicago’s epic 25 or 6 to 4. By the way, the title refers to the time Robert Lamm wrote it, which was 25 or 26 minutes to 4:00 am.

Sources: Wikipedia, Daily Herald, CNN documentary “Now More Than Ever”, Rolling Stone, YouTube