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Speaker 1: This is your old Valcy.

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Speaker 2: And it's time listen Jason.

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Speaker 3: Andy Ca.

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Speaker 1: Okay, so we're gonna be talking about a horn band

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to day called Chicago Transit Authority.

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Speaker 4: That's right, that's right. It's just you and me, and

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I'm feeling stronger every day. D This is gonna be

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like a Saturday in the park and instead of wishing

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you were here, it's gonna be like the old days.

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And I know we said we're gonna start it two o'clock,

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but does anybody really know what time it is? It

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could be twenty five or sixty four. So today we're

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gonna be talking about the mighty Chicago.

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Speaker 1: That was a heck of an introduction. Thanks for taking

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us back to the beginnings.

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Speaker 4: You know, we gotta start somewhere, So welcome to the

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Shirley You Can't be Serious podcast. Everybody. Today we're talking

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about the album Chicago seventeen seventeen seventeen.

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Speaker 1: Have we ever talked about the seventeenth album of any band? Nope,

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not yet, I don't think so. This is it isn't

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like this is a nineties album. This is the eighties.

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So this band started way back in the sixties.

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Speaker 4: In the sixties and really hit their second win, like

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their second stride mid eighties with MTV and all that stuff.

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Speaker 1: Yeah, so I hit up my dad since this was

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an older band, and I remember him playing Saturday in

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the Park when we got our first like synthesizer keyboard

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that weighed two hundred pounds and he was playing things

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with the little you know, samba drum beats and stuff

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like that. I can remember him playing Saturday in the

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Park on this thing, and so I just was like, oh,

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I should hit that up. I'm like, hey, did you

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enjoy the band Chicago? And he was like, I like

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their music, but I couldn't tell you a single band

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member's name or what any of them look like. And

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I was like, well, there's a reason for that. They

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didn't put their faces on virtually any of their albums,

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at least for the first I don't know.

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Speaker 4: Ten or so absolutely by design.

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Speaker 1: Yeah, they were a group as a group, there was

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no leader. It was a democracy, and around about nineteen

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eighty four that kind of change.

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Speaker 4: That definitely changed. And the interesting thing is that the

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horn guy and the trombone guy and the woodwind guy

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are like, hey, we're leaders.

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Speaker 1: Yeah, mmm, are you? Though? We could play the keyboards

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and the guitar if you want, and that's what they did. Okay.

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But so for those of you who are not Chicago

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huge fans, I mean just I'll ask you this question,

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can you name me a member of Chicago. If you

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said Peter Satara, I'll say, congratulations. He hasn't been with

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a band in about fifty years sorry, forty years. Forty

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years yes, And then if you can, if you can

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pull out Terry Cath, I'm gonna say, okay, almost fifty

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years for pretty good yep, yep. But most people don't

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know any of the names of these guys, so I'm

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just gonna throw it out all right. The original lineup,

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we have Terry Cath on guitar, Robert Lamb on keyboards,

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Lee Locknane on trumpet, James Pankout on trombone, Walter Perizidor

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on woodwinds, and Danny Sarafin on drums. Now, not too

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long after they these guys got together and really started going,

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they were joined by Peter Setera on bass.

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Speaker 4: Like six months or so.

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Speaker 1: Yeah, so basically we could consider him a founding member

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as well. I would say that, yeah, And it was

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essentially the founding members for the first fifteen sixteen years

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of their existence. And the deal was when you shook

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hands to join the band, it was you're in until

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you quit or you die. We will never fire you

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quote will never fire you.

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Speaker 5: You know.

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Speaker 4: Well, we'll see if that holds true throughout the eighties.

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Speaker 1: Okay, before we get rolling, I just gotta throw it

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a couple of tidbits on these guys, just so that

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they gives them some personality, all right. So Robert Lamb,

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he was he was the main songwriter at the beginning

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of the band, had like fifty songs in a notebook

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when they started back in their early twenties. Yeah. He

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went to Brooklyn Heights and performed in the men's choir

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at Grace Episcopal Church. Another member of that choir was

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Harry Chapin Catching the Cradles Silverspoon House. Yep. All right,

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So there's your tidbit on Robert Lamb as an after

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this album tidbit and this is for you, def Dave.

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He with Jerry Beckley of the band America and Carl

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Wilson of the band The Beach Boys, formed a trio

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to play together after Wilson's death from lung cancer. In

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ninety eight, they released an album that was entitled Like

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a Brother. Oh cool, yep, I love it. And then

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last for James Pankow. Yes, all right, here's tidbit on him.

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He is the older brother of John Pankow. Do you

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know who that is? Did you watch Mad About You

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the TV show? Yes? Yeah? Remember Ira Buddy? Yeah, well

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that's his brother. Whoa Yeah, So there you go.

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Speaker 4: That is fantastic. Yeah wow, okay man.

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Speaker 1: We'll have a lot more information on Terry cath and

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Peter Satara as the episode goes on. But I just

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thought we need some little tidbits for these guys to

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give him some life.

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Speaker 4: Absolutely, the faces and the names have been hidden from

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us for too long. And actually, I want to tell

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you this. I was really excited to get into this

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because this was a album that I owned. I had

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a cassette and actually it's on our wall. Were checking

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off another one of our wall.

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Speaker 1: Who was a gift did this give? Was this a

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gift for us?

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Speaker 4: I think I bought that one.

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Speaker 1: That one?

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Speaker 4: All right, good job, But it was always a mystery

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to me because I entered at Chicago seventeen. Where's Peter Stara.

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Why isn't he with the band anymore? Why is he solo?

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Did they fire him? Did he quit? What happened?

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Speaker 1: Have you seen karate Kid two? Yes?

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Speaker 4: Right, So well for us to dive into this, I

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was really pleased to find out kind of the story. Yeah,

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before we get started on the first song, I want

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to give quick overview of this album. Like we said,

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there are sixteen albums prior to this, and I do

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kind of want to go through the albums and talk

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a little bit about their hits and kind of yeah,

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because there's ups and downs and it's kind of dramatic

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the way that kind of goes. But it's their fourteenth

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studio album, their seventeenth album overall. Right, Not every album

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was called Chicago Wan, Chicago two, Chicago three. There were

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some different names in between, but they still counted them.

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This was released May fourteenth, nineteen eighty four. We're comparing

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it next week to Survivor Vital Signs, which is another

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band from Chicago.

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Speaker 1: How about that? There you go.

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Speaker 4: This album sold six point one million albums, won three

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Grammy Awards, and this group as a whole has sold

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over one hundred million albums total.

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Speaker 1: Billboard magazine ranked them as the number thirteen thirteen in

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a list of the top one hundred artists of all time,

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and they rank them as ninth on the list of

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the hundred greatest artists of all time on the Billboard

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two hundred album chart.

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Speaker 4: It's incredible, you know. In nineteen seventy one, thirteen years

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before we talked about this album, they sold out Carnegie

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Hall for a week.

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Speaker 1: First time any band has ever done that. It's incredible. Yeah,

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all right, We're ready to dive in. Let's dive in.

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Song number one on Chicago seventeen.

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Speaker 4: This song is called stay the Night.

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Speaker 3: This unstand.

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Speaker 1: Says time. All right.

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Speaker 4: So this is the reason why I ran out and

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got this tape, this song. I fell in love with

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this song right off the bat, yep. And part of

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the reason why it had a super cool video on MTV. Okay,

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so watch the video.

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Speaker 1: Yes I did, and it's I mean, it's so it's

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nineteen eighty four. Yeah, so this comes out just after

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Thriller had come out, right, and so I think the

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video directors we moved on from guys who had just

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finished beer commercials, who were recording Journey, not playing their

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instruments but air guitaring two guys who actually knew what

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they were doing, creating a story. This one's it's decent.

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It seemed to be a running theme that the rock

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stars were guys who worked on cars and as mechanics

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in the videos. I don't know why that was always

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the thing, but somehow the hot girls always liked the

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guys working on the cars.

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Speaker 4: Yes, of course they did.

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Speaker 1: And so this one is interesting because you got Peter

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Setera making out with this girl and he then she's

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like pushing his hand away from getting to third base,

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and then she's pushing his hand away from getting a

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second base. Thank he got close to he was going

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for cuppage.

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Speaker 3: Man.

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Speaker 1: There was a little jiggle. It was so close. And

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then all of a sudden she's slapping his face and

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stealing his car, and he's chasing after either her the car.

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I'm not entirely sure which one it is.

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Speaker 4: Okay, so this is the I've got to talk about

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this because I absolutely love this video because you're right,

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he's a mechanic, he's working on a car. She is

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hot as a firecracker. Her name, by the way, is

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Ingrid Anderson. She's been in the movie Hercules with our

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good buddy Loof Forrigno.

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Speaker 1: I was gonna say, are we talking about the Loof

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frigg the iconic, the underrated, the cult classic. Yes, the

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dubbed dubbed over Hercules? Huh that's it? Oh my gosh.

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Speaker 4: So she stars in Hercules. Her name is Ingrid Anderson,

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and she was paid ten thousand dollars to come in

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and let Peter Stara feel her up, jumps in the

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red convertible car whatever it is, she peels out. He

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chases after her, and the guys in the Chicago band

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have this really cool blue pickup truck it is He

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hops in the back, and so I thought it was interesting.

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The director of the video was given the task of

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making Chicago relevant on MTV, and he's like, well, these

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guys are not spring chickens. How can I do that?

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Speaker 1: Right? I mean, these guys are born in the in

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the forties, mid forties, and this is the mid eighties,

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which means their late thirties early forties, they're pushing forty.

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Speaker 4: And he's like, well, if I make this incredibly exciting

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car chase, MTV will have to play it.

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Speaker 1: Of course, And guess what they did.

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Speaker 6: He did, and they did.

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Speaker 1: Yeah, absolutely, But at the end I thought it was hilarious.

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Speaker 6: You know.

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Speaker 4: First of all, they smashed through a billboard that says

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Chicago seventeen.

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Speaker 1: On it whatever, its plastic moment, yes.

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Speaker 4: And the band guys are driving him all over the

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place and he's chasing her and at the very end

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the truck explodes, like yeah, like C four goes on.

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It was like cub Louis.

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Speaker 1: Yeah, it was. I mean it was obviously just sitting

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still and way in but still it was a memorable

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moment for a music video for sure.

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Speaker 4: Right, they tried to cut it so we didn't notice

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the car was not moving. And then Peterstair is lying

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on the ground outside of the ambulance and it looks

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like he just got done grilling burgers. He's like not

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hurt at all. And then Ingrid Anderson gets in the

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ambulance and very twilight zone.

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Speaker 1: She's I want to see something scary. Yeah, yes, yeah, no,

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it's great, and he half of the video he is

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hanging on to the car door as she's driving full

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speed down the highway. Now I was sitting here thinking, well,

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that's obviously a stuntman. There are some scenes where you

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can clearly see his face. I mean, I know they

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probably had him tied on pretty tight, but I wouldn't

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want to be doing that four year old dude.

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Speaker 4: They don't make movies this good anymore. Oh, it was exciting,

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It was, It really was so anyway. So this song

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is released April eighteenth, just ahead of the release of

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the album of nineteen eighty four. It reached number sixteen.

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I got out in these.

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Speaker 1: For me, all right.

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Speaker 4: So a lot of these are sort of touching, sheerly,

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you can't be serious type of stuff here.

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Speaker 1: So sure.

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Speaker 4: Number nine is a song called you Can't Get what

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you Want, You can't.

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Speaker 1: Always get what you want?

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Speaker 4: But a rolling stone string? Yeah, I don't recognize that one, alrighty.

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Then you've got Sister Christian.

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Speaker 1: Which we've talked about in detail.

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Speaker 4: Yeah, it's a Miracle by Culture Club right almost Paradise

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Love It talked about Footloose. Number eleven is Borderline by Madonna.

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Number ten His Eyes Without a Face by Billy Idol.

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Speaker 1: Talked about that one. Check out our Billy Idol episode.

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Speaker 4: Number nine, Oh Sherry by Steve Perry, Great number eight

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when Doves Cry, Oh nice? Yeah, Number seven Jump from

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My Love by the Pointer Sisters. Number six Heart of

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Rock and Roll by Huey Lewis.

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Speaker 1: And the News. Gosh, what a chart is this?

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Speaker 4: Number five Self Control by Laura Brannigan.

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Speaker 1: Oh wow, yeah, I know you love that. I do

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love it, yes.

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Speaker 4: Number four Dancing and Dark by Bruce Springsteen.

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Speaker 1: It's fantastic.

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Speaker 4: Number three Let's here for the Boy off the Philus soundtrack, huh.

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Number two Time after Time by Cindy Lapper, and number

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one The Reflex by Duran.

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Speaker 1: Duran, shut up like this will I will give me

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this as a mixed CD and I'm gonna listen to

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it for the next month.

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Speaker 4: Summer of eighty was off the chart.

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Speaker 1: There are no other than the song that sounds like

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the Rolling Stone song that I don't know which I

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probably if I heard that song at this point and

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be like, oh that song just just not ringing a bell.

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But out of sixteen, fifteen of them are all timers, right, yes,

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absolutely awesome. What a great what a great time to

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be alive.

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Speaker 4: I know right by the way, I've got one, I've

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got two nuggets I gotta drop on you regarding this song.

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So I'm listening to this. It's very rock. Oh yeah, right, yes,

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you have the gated drum at the beginning, that's true. Yeah,

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So guess who's playing drums on this?

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Speaker 1: Is it?

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Speaker 4: Not Danny Sarafin, Not Danny Serafin, David Foster's like you're

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on the bench, I'm bringing in my guy.

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Speaker 1: Jeff Picaro shut up really yep?

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Speaker 4: Okay, yeah, which we've talked about them being like the

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best of the studio musician.

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Speaker 1: Jeff arguably the greatest strummer of all time.

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Speaker 4: Right, and the guitar there's like a heavy metal guitar

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solo in the middle of this. Yes, no French horns

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by the way, No sorry horns in this song. Sorry

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old time Chicago people.

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Speaker 1: Yeah, but I looked up that guy.

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Speaker 4: His name is Chris Pinnock.

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Speaker 1: Okay.

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Speaker 4: He was a studio guy, not a lot, but he

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did write the music for a movie called My Mom's

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a Werewolf, which I've got to check out now.

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Speaker 1: So I'm really glad you dug that deep boy rabbit hole.

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If I ever heard one. One more thing for you.

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Speaker 4: The director of this video, his name is Gil Bentman.

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Speaker 1: Okay.

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Speaker 4: Now, he directed episodes of Night Writer and The Fall Guy.

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Speaker 1: Oh fantastic, Yes, I can see that absolutely, right, Yeah, absolutely,

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it may be the exact names. It's perfect, right, No,

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that's great.

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Speaker 4: He also directed a movie called Crystal Heart.

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Speaker 1: Who I've heard of that? Is that ring all with you?

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00:14:58,120 --> 00:15:00,399
Is it like a Cinemax movie? Yes it is.

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Speaker 4: It was a Sumac's favorite of me and my buddies.

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Speaker 1: Uh huh, because yes.

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Speaker 4: It starred the lovely Tawny Katine, who was not fully

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clothed for half the movie.

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Speaker 1: So wow.

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Speaker 4: Anyway, but we should probably talk about how this song

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was written by Peter Seta yep, and David Foster. Yeah,

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David Foster is really a big player in this album.

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Speaker 1: Yeah, so you know this band, and we'll talk about

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00:15:29,399 --> 00:15:31,279
the history of this band as we're going through. But

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they had had a great deal of success in the seventies,

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definitely a seventies band. By the time we get to

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Chicago fourteen, they've run their course. They are all, if

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00:15:45,320 --> 00:15:49,960
not currently addicted to drugs, rehabbing themselves from being addicted

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to drugs. The music is suffering, and Columbia just says,

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we're not going to make another album for you. We'll

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buy you out of their out of your contract, and

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00:15:59,720 --> 00:16:02,879
so so that gets us because of the contract they

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had with them, they had to do one more album.

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That had Colombia had to release one more album, which

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is why Chicago fifteen is a greatest Hits album, Okay, right,

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00:16:12,120 --> 00:16:15,320
And then that leaves them without a record label for

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their sixteenth album, and they don't know what to do.

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But who should step in? But our old friend Irving

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as Off. So Irving as Off had just the Eagles

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00:16:26,960 --> 00:16:30,519
had just broken up a little while before this. If

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you don't remember Irving azof, go back and check out

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00:16:33,200 --> 00:16:37,399
our Eagles episode. He managed to somehow keep them from

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getting arrested despite the fact that they had maybe pounds

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of marijuana on them at the airport. And they were like,

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if he can do that, he can do anything. And

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then they break up, and so he starts his own

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independent label and he's like, you know what, Columbia may

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not believe in Chicago, but I believe in Chicago. And

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so he says, guys, I'm gonna hook you up here.

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We're going to get this young and upcoming producer is

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on fire right now. He plays well, he produces well,

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and he writes well. His name is David Foster, that's right,

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And so We've talked about David Foster before when we

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talk about John Parr.

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Speaker 4: John Parr the Saint Elmo's fire Man in Motion song.

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Speaker 1: Right, he hit your subscribe button, by the way, because

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we will be kind of covering Saint Almost Fire a

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little bit later on this season. There you go Sant

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Almost Fire versus The Breakfast Club, The Plan, Rat Pack Movies. Guys,

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00:17:26,960 --> 00:17:29,599
you can't miss that. Hit the subscribe button, all right, yeah, okay,

350
00:17:29,640 --> 00:17:33,519
So anyway, yes, he and John Parr get together and

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write Man in Motion and it's a smash. It is.

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Speaker 4: You and I talked before we were doing this. We

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both saw the same interview with him where he's like,

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I'm great.

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Speaker 1: I know, I'm great.

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Speaker 4: You don't get sixteen Grammys without being great.

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Speaker 5: I know.

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Speaker 1: He literally has the sixteen Grammys behind him, and he's like, okay, guys,

359
00:17:48,720 --> 00:17:51,200
where are we going to set up for the interview. Yeah,

360
00:17:51,240 --> 00:17:53,720
we're gonna step in front of my sixteen Grammys? Can

361
00:17:53,759 --> 00:17:55,680
you see right here behind me?

362
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Speaker 4: But you know what, he's not wrong.

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Speaker 1: It ain't bragging if you can do it righthy gosh. Yeah.

364
00:18:00,519 --> 00:18:04,519
So yeah, So David Foster, he listened. They got thirteen songs. Right,

365
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and they play him each of the songs and when

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they're done, he said, they all suck. He said, in

367
00:18:11,119 --> 00:18:14,720
listening to it, it was one boring song after another.

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00:18:14,839 --> 00:18:17,240
He said, you guys have forgotten who you are. You

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are not the Chicago that I grew up with. You're

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not the Chicago that I loved listening to in the seventies.

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You got to find who you are. And when he

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00:18:25,079 --> 00:18:27,119
said that, what he really meant was, I'm going to

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make you back into something great. It's not going to

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be the same as who you were. But he was

375
00:18:32,720 --> 00:18:38,200
integral to their charting success for Chicago sixteen, which, irving

376
00:18:38,240 --> 00:18:42,119
Azof's small record label, was a part of the Warner label,

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00:18:42,240 --> 00:18:44,640
and so that was helpful in getting sixteen out there.

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00:18:44,799 --> 00:18:47,160
Which of then, I mean, they're like a phoenix from

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00:18:47,200 --> 00:18:51,720
the asses on sixteen and suddenly they're relevant again. They're

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00:18:51,720 --> 00:18:54,920
making videos and we get this album, Chicago seventeen.

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00:18:55,079 --> 00:18:57,039
Speaker 4: You know, when you look at the story of Chicago,

382
00:18:57,079 --> 00:18:59,920
you know who It really reminds me of Heart.

383
00:19:00,079 --> 00:19:02,079
Speaker 1: Okay, you know we talked about Heart.

384
00:19:01,839 --> 00:19:05,359
Speaker 4: Earlier this year. You've got a one of a kind voice.

385
00:19:05,599 --> 00:19:08,279
They're not writing great songs, so what do you do

386
00:19:08,319 --> 00:19:10,599
you come in and you say, let's pump up the songs,

387
00:19:10,680 --> 00:19:13,200
Let's get some cool videos, let's get you back in

388
00:19:13,240 --> 00:19:16,359
front of people, remember who you are, and let's go

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00:19:16,480 --> 00:19:17,519
conquer this thing again.

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Speaker 1: Right all right?

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00:19:18,359 --> 00:19:20,480
Speaker 4: Second song on the album. This song is called we

392
00:19:20,559 --> 00:19:21,440
Can Stop the Hurting.

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00:19:40,599 --> 00:19:41,559
Speaker 1: Okay, what are your thoughts?

394
00:19:41,720 --> 00:19:43,519
Speaker 4: I think it's fun. It's a toe tapper. I think

395
00:19:43,559 --> 00:19:45,000
it sounds like old Chicago.

396
00:19:45,319 --> 00:19:50,319
Speaker 1: This is definitely more it's the old Chicago lyrically and musically,

397
00:19:50,400 --> 00:19:54,880
but instrumentation wise, they've they've definitely got there. They're bringing

398
00:19:54,920 --> 00:19:56,960
the up a little bit. Well, it's I don't I

399
00:19:57,039 --> 00:19:59,400
want to say polished, It's just that it's they've got

400
00:19:59,440 --> 00:20:02,960
the synthesize, they've got the It sounds to be like, partially,

401
00:20:03,000 --> 00:20:08,640
if not fully, a drum machine. It's very early eighties instrumentation.

402
00:20:09,000 --> 00:20:12,079
And honestly it's not my favorite. This maybe my least

403
00:20:12,119 --> 00:20:14,079
favorite song on the whole album. It's kind of a

404
00:20:14,079 --> 00:20:23,000
toe tapper. Yeah. Then this is. The lead singer on

405
00:20:23,039 --> 00:20:25,680
this one is Robert Lamb, and he, like I said,

406
00:20:25,720 --> 00:20:28,359
had written a majority of their songs at the at

407
00:20:28,359 --> 00:20:30,799
the inception of the band. Obviously, you've got plenty of

408
00:20:31,119 --> 00:20:35,160
different songwriting going on throughout their history. But yeah, he was.

409
00:20:35,519 --> 00:20:38,480
He was struggling with some addiction in this part too,

410
00:20:38,640 --> 00:20:40,960
and basically they said it was hard to get him

411
00:20:40,960 --> 00:20:42,200
to show up, and he admitted he was like, I

412
00:20:42,279 --> 00:20:43,640
just didn't want to come, did not want to come

413
00:20:43,640 --> 00:20:46,559
to the recording sessions. Really, yeah, it's crazy. Yeah.

414
00:20:46,640 --> 00:20:48,880
Speaker 4: I did see an interview with Peter Seto when they

415
00:20:48,880 --> 00:20:51,079
were asking him, you know that they were people were

416
00:20:51,079 --> 00:20:52,640
interviewing him. They're like, do you talk to any of

417
00:20:52,680 --> 00:20:56,079
those guys anymore? He's like, he's like, well, you know

418
00:20:56,160 --> 00:20:58,480
how when you get a divorce hang out with your

419
00:20:58,519 --> 00:20:59,440
ex wife very much?

420
00:21:00,119 --> 00:21:00,440
Speaker 1: We don't.

421
00:21:00,559 --> 00:21:03,720
Speaker 4: Yeah, he goes, I do talk to Robert Lamb on occasion,

422
00:21:05,000 --> 00:21:06,880
and for me at least, I was like.

423
00:21:06,960 --> 00:21:10,799
Speaker 1: Okay, well maybe maybe sure maybe. Yeah. So there's that.

424
00:21:10,839 --> 00:21:13,880
Speaker 4: I got a couple of tidbits for you on this song. Okay, okay,

425
00:21:13,960 --> 00:21:17,000
So this song was written by Robert Lamb and Bill Champlin.

426
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If you don't know who he is, he's the guy

427
00:21:18,519 --> 00:21:21,119
who sings the other part on Heart Habit to Break,

428
00:21:21,119 --> 00:21:22,960
which we'll talk about here in a minute. Yep, Okay,

429
00:21:23,119 --> 00:21:26,079
I did read that background vocals on this song and

430
00:21:26,200 --> 00:21:29,920
others on this album provided you by Donny Osmond.

431
00:21:29,720 --> 00:21:33,400
Speaker 1: Nice and Richard Marx of course, right man, Richard Marx

432
00:21:33,480 --> 00:21:38,160
is everywhere. It is everywhere, everywhere. So these guys, I

433
00:21:38,200 --> 00:21:40,640
think you have to you know, you got seven member band.

434
00:21:40,920 --> 00:21:42,920
I can't give you the history of every guy and

435
00:21:42,960 --> 00:21:44,440
what they all went through, but I think you got

436
00:21:44,480 --> 00:21:47,519
to start with Terry Cath. Terry Cath was basically the

437
00:21:47,519 --> 00:21:51,240
band leader of this band. He started. His first kind

438
00:21:51,240 --> 00:21:53,799
of semi professional band was a band called the Mystics,

439
00:21:54,079 --> 00:21:57,079
which he started in nineteen sixty three. Then he went

440
00:21:57,160 --> 00:21:59,960
on to a band called Jimmy Rice and the gentle

441
00:22:00,000 --> 00:22:02,799
One in sixty five, and then he switched to a

442
00:22:02,839 --> 00:22:06,599
band called Jimmy Ford and the Executives and he was

443
00:22:06,640 --> 00:22:10,680
playing bass for them. Now he is arguably one of

444
00:22:10,680 --> 00:22:14,240
the greatest guitar players of all time, referred to by

445
00:22:14,400 --> 00:22:18,160
Jimmy Hendricks as the greatest guitar player in the universe.

446
00:22:18,359 --> 00:22:21,680
That's crazy, right, That's that's incredible. Like I mean, I

447
00:22:21,839 --> 00:22:23,799
just i'd be like, okay, I can kill me now,

448
00:22:24,039 --> 00:22:25,279
like right whatever.

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00:22:25,039 --> 00:22:25,880
Speaker 4: I've achieved it all.

450
00:22:27,160 --> 00:22:29,680
Speaker 1: Whatever. So even though the name of the band was

451
00:22:29,759 --> 00:22:32,440
Jimmy Ford, and the executives. Terry was the kind of

452
00:22:32,480 --> 00:22:35,440
the leader of the musical direction of the band. And

453
00:22:35,480 --> 00:22:38,440
it's in that band, you know. Jimmy Ford was a trumpeter,

454
00:22:38,640 --> 00:22:43,480
and he had Walter Perizaider as a saxophone player. And

455
00:22:43,519 --> 00:22:46,200
then a little while later they picked up Danny Sarafin

456
00:22:46,519 --> 00:22:49,519
as the drummer. Okay, and then they decided to merge

457
00:22:49,559 --> 00:22:52,799
with another band, and they were like, hey, Terry, Walter, Danny,

458
00:22:52,880 --> 00:22:57,440
you're fired, really freaking fired the founding members of what

459
00:22:57,480 --> 00:22:58,400
would be Chicago.

460
00:22:59,039 --> 00:23:02,200
Speaker 4: Wow, make sure I understand this. The So there's another band,

461
00:23:02,279 --> 00:23:04,680
and they fired all the guys who would eventually sell

462
00:23:04,680 --> 00:23:05,759
one hundred million albums.

463
00:23:06,519 --> 00:23:09,880
Speaker 1: That's correct. Yes, Jimmy Ford and the executives merged with

464
00:23:10,039 --> 00:23:15,759
Little Artie and the Pharaohs to produce, and then they

465
00:23:15,839 --> 00:23:18,599
fired the guys who are one of the greatest selling

466
00:23:18,680 --> 00:23:22,960
bands of all times. And the guitarist what he told them,

467
00:23:22,960 --> 00:23:25,359
He's like, it's just business. It is bad business. You

468
00:23:25,559 --> 00:23:28,640
just made a bad business decision. So Terry joins a

469
00:23:28,680 --> 00:23:32,680
cover band called the Missing Links. He gets a Parisider

470
00:23:32,920 --> 00:23:36,400
and Sarafin to come join him. They start playing clubs

471
00:23:36,440 --> 00:23:39,680
in Chicago on a regular basis, and they've got friends

472
00:23:40,000 --> 00:23:43,839
at De Paul University where they go to school, including

473
00:23:43,920 --> 00:23:47,640
the trumpeter Lee Lucknane, and they're like, hey, come sit

474
00:23:47,720 --> 00:23:50,160
in with the band because we need a trumpeter. Yep.

475
00:23:50,200 --> 00:23:51,519
So another guy that would sit in the band was

476
00:23:51,519 --> 00:23:54,720
a guy named James William Garcio that he would become

477
00:23:54,759 --> 00:23:59,160
their producer manager. Guy yes, And so Garcia gets a

478
00:23:59,480 --> 00:24:02,680
offer to play with this band called Illinois speed Press

479
00:24:02,799 --> 00:24:04,839
and moved to Los Angeles and he says, Terry, I

480
00:24:04,880 --> 00:24:06,680
want you to come with me, and Terry's like, I'd

481
00:24:06,799 --> 00:24:09,480
rather stay with these guys. I like what we're doing here,

482
00:24:09,519 --> 00:24:14,119
and so he stayed with Peris Aider and Saraphine and Locknane,

483
00:24:14,599 --> 00:24:18,920
and they recruit James Pankow who's also from DePaul, and

484
00:24:19,279 --> 00:24:22,079
they also recruit Robert Lamb and you can see as

485
00:24:22,119 --> 00:24:25,920
the pieces are coming and coming that eventually this band

486
00:24:26,240 --> 00:24:29,319
forms to what they would call themselves, the Big Thing.

487
00:24:30,319 --> 00:24:34,759
And then they hire a guy named Peter Seterra who

488
00:24:34,799 --> 00:24:37,440
is playing with a band called the Exceptions. At that

489
00:24:37,599 --> 00:24:40,079
point they moved to LA they changed their name to

490
00:24:40,160 --> 00:24:43,480
the Chicago Transit Authority, and they signed with Columbia Records.

491
00:24:43,559 --> 00:24:43,960
I love it.

492
00:24:44,279 --> 00:24:45,880
Speaker 4: I love it, and I've got a history that I

493
00:24:45,920 --> 00:24:47,759
want to talk to you about. The interesting thing to

494
00:24:47,799 --> 00:24:50,839
me when they changed their name to Chicago Transit Authority

495
00:24:50,920 --> 00:24:54,559
nineteen sixty eight, they put out one album as CTA

496
00:24:55,200 --> 00:24:57,000
in the name of the album too, that's right, Yeah,

497
00:24:57,079 --> 00:25:00,759
Chicago Transit Authority. They actually have have to change their

498
00:25:00,839 --> 00:25:05,079
name because the actual Chicago Transit Authority threatens.

499
00:25:04,839 --> 00:25:08,759
Speaker 1: To sue them. Yeah, guys, you, what are you doing?

500
00:25:09,640 --> 00:25:11,480
We're a thing. You can't be the thing that we're

501
00:25:11,519 --> 00:25:13,799
the thing. And they're like, Okay, I guess.

502
00:25:13,759 --> 00:25:15,079
Speaker 4: Calling ourselves the thing we're not.

503
00:25:15,359 --> 00:25:18,960
Speaker 1: Yeah, well, I guess we'll be Chicago. We keep getting

504
00:25:19,000 --> 00:25:21,880
calls wanting to know when we're going to play next. Okay,

505
00:25:22,480 --> 00:25:24,400
we're a transportation company, not a band.

506
00:25:24,440 --> 00:25:27,200
Speaker 4: Please, we have nothing going on this Saturday in the park.

507
00:25:27,240 --> 00:25:31,960
I'm telling you, Okay, let's go on. The next song

508
00:25:32,000 --> 00:25:32,279
this is.

509
00:25:32,200 --> 00:25:35,640
Speaker 1: One you might have heard of, maybe if you have

510
00:25:35,960 --> 00:25:40,160
heard of Chicago or music or the United States. This

511
00:25:40,200 --> 00:25:42,200
song is called hard Habit to Break.

512
00:25:42,920 --> 00:25:52,599
Speaker 3: I guess the fun Forever another I chose to c.

513
00:25:54,519 --> 00:26:00,599
Speaker 7: You don't know about chicot until Let's go And I'm

514
00:26:00,599 --> 00:26:03,920
fucking out.

515
00:26:04,720 --> 00:26:06,599
Speaker 4: Skaters move out to the middle of the dance floor.

516
00:26:06,680 --> 00:26:09,079
Speaker 1: You know, I didn't go to my first school dance

517
00:26:09,319 --> 00:26:11,680
until nineteen eighty nine, and I could still say with

518
00:26:11,799 --> 00:26:14,359
confidence I can remember slow dancing with this song.

519
00:26:14,440 --> 00:26:17,359
Speaker 4: Oh my god, I told you today. This song just

520
00:26:17,599 --> 00:26:24,759
sounds like cheap perfume and Hickey's This is This is

521
00:26:24,799 --> 00:26:29,119
a junior high dance sway Hall of Famer.

522
00:26:29,799 --> 00:26:34,720
Speaker 2: Now takes a lot of caddies.

523
00:26:36,599 --> 00:26:57,160
Speaker 3: She love to live with it.

524
00:26:51,240 --> 00:26:55,720
Speaker 4: Robert, I'm not saying that I solved some of the

525
00:26:55,759 --> 00:26:58,799
mysteries of the broadclasp to this song, but I'm not

526
00:26:58,799 --> 00:27:02,519
not saying it. Yeah, this song was written Get This

527
00:27:02,599 --> 00:27:06,759
by a guy named Steve Kipner and John Lewis Parker. Okay,

528
00:27:06,920 --> 00:27:08,599
did those name ring any bells to you?

529
00:27:08,720 --> 00:27:10,200
Speaker 1: They do, but I don't remember what. Okay.

530
00:27:10,759 --> 00:27:14,839
Speaker 4: Steve Kipner is responsible for the hit songs heart Attack,

531
00:27:15,079 --> 00:27:18,799
Twist of Fate, and Physical by Olivia Newton John very

532
00:27:18,799 --> 00:27:21,680
Good yes, right ye, also Genie in a Bottle by

533
00:27:21,759 --> 00:27:27,079
Christina Aguilera. Okay, right, hit Baker right well. He paired

534
00:27:27,160 --> 00:27:29,039
up with a guy named John Lewis Parker to write

535
00:27:29,039 --> 00:27:32,559
this song, which is a number three Smash and John

536
00:27:32,599 --> 00:27:36,200
Lewis Parker is responsible for the original Chips theme before

537
00:27:36,240 --> 00:27:36,839
the Cool.

538
00:27:36,599 --> 00:27:38,880
Speaker 1: One, before the Allen Sevestri one.

539
00:27:38,960 --> 00:27:41,240
Speaker 4: That's exactly right, because else Sylvester took over.

540
00:27:41,759 --> 00:27:42,000
Speaker 1: Right.

541
00:27:42,079 --> 00:27:44,519
Speaker 4: He also wrote the theme song for the TV show

542
00:27:44,559 --> 00:27:49,319
Parker Lewis Can't Lose, Okay, and the Family Feud song.

543
00:27:54,000 --> 00:27:56,519
So literally, you take the guy who wrote the theme

544
00:27:56,559 --> 00:27:58,480
song to Family Feud and you match him up with

545
00:27:58,519 --> 00:28:00,680
the guy who wrote Genina Bottle and you get hard

546
00:28:00,720 --> 00:28:01,279
Habit to Break.

547
00:28:01,720 --> 00:28:04,279
Speaker 1: It's beautiful, that's fantastic.

548
00:28:04,720 --> 00:28:07,319
Speaker 4: This song hits number three on the charts. Okay, do

549
00:28:07,359 --> 00:28:10,640
you want to know the top songs on this week.

550
00:28:10,440 --> 00:28:12,119
Speaker 1: And number two or We're going to go through all

551
00:28:12,200 --> 00:28:13,000
the top live.

552
00:28:13,240 --> 00:28:15,160
Speaker 4: So I wanted to tell you the top two, but

553
00:28:15,200 --> 00:28:16,920
I had to just blow through these real quick.

554
00:28:17,000 --> 00:28:17,319
Speaker 1: Okay.

555
00:28:17,400 --> 00:28:19,279
Speaker 4: Number nine's Purple Rain. We've covered that one.

556
00:28:19,400 --> 00:28:19,920
Speaker 1: Yeah.

557
00:28:20,119 --> 00:28:22,680
Speaker 4: Number eight is On the Dark Side by John Cafferty.

558
00:28:22,759 --> 00:28:25,519
Speaker 1: Yeah, we've covered that one. Cover that one on Patreon episodes, Guys,

559
00:28:25,519 --> 00:28:28,400
go check out our Patreon page. It is patreon dot com.

560
00:28:28,400 --> 00:28:31,279
Slash Shirley podcast. We cover all of the one hit wonders,

561
00:28:31,279 --> 00:28:34,640
including On the Dark Side and for a little five

562
00:28:34,640 --> 00:28:36,599
bucks a month you get access to all of those episodes.

563
00:28:36,640 --> 00:28:38,640
You can join for free and see what we're talking about.

564
00:28:38,680 --> 00:28:40,839
We have a lot of good conversation with it, and

565
00:28:40,960 --> 00:28:42,960
if you up your tier and support us a little

566
00:28:43,000 --> 00:28:45,039
bit more, we'll send you presents. Heck, we may even

567
00:28:45,079 --> 00:28:46,640
invite you to Shirley Fast next year.

568
00:28:47,000 --> 00:28:49,279
Speaker 4: We appreciate all of our patrons, thank you very much.

569
00:28:49,279 --> 00:28:51,880
In fact, Travis Laslie Patreon, I remember came on and

570
00:28:51,920 --> 00:28:54,519
did the The on the dark Side Patreon, one.

571
00:28:54,400 --> 00:28:58,039
Speaker 1: Of our very first listeners and a dedicated fan. Great

572
00:28:58,079 --> 00:28:59,880
guy like chefs. Yep. Yeah.

573
00:29:00,079 --> 00:29:02,640
Speaker 4: Number seven is covered Me by Bruce Springsteen. Number six

574
00:29:02,799 --> 00:29:05,079
is Drive by the Cars. Number five is Let's Go

575
00:29:05,119 --> 00:29:08,519
Crazy by Prince. Number four Lucky Star by Madonna. Number

576
00:29:08,519 --> 00:29:10,359
three is Hard to Have It to Break. Number two

577
00:29:10,599 --> 00:29:13,319
is Caribbean Queen, which I know you hate but I

578
00:29:13,400 --> 00:29:16,799
love Gosh.

579
00:29:16,920 --> 00:29:19,440
Speaker 1: I think I feel like I feel about Billy Ocean

580
00:29:19,440 --> 00:29:21,359
the way you feel about Stevie Wonder. I think that's

581
00:29:21,720 --> 00:29:24,000
what that's our that's what our connection is there.

582
00:29:24,279 --> 00:29:26,960
Speaker 4: Speaking of the number one song in America, I just

583
00:29:27,039 --> 00:29:30,240
called to say I love you Hey. The worst song

584
00:29:30,319 --> 00:29:33,880
of the eighties, no song he.

585
00:29:33,920 --> 00:29:36,039
Speaker 1: Had brand Newcassio keyboard to play with.

586
00:29:38,839 --> 00:29:42,000
Speaker 4: Hey, remember Phil Collins threw some shade at Stevie Wonder

587
00:29:42,079 --> 00:29:46,480
on that particular song because it won the Grammy over

588
00:29:46,720 --> 00:29:49,759
against all odds. But Phil was like, he didn't write

589
00:29:49,799 --> 00:29:52,160
that for that movie. He just gave him a song.

590
00:29:52,400 --> 00:29:54,039
Speaker 1: Yeah, that's right. This song was.

591
00:29:54,000 --> 00:29:56,640
Speaker 4: Released July second, nineteen eighty four. Like I said, Reach

592
00:29:56,759 --> 00:30:00,000
number three, nominated for four rents.

593
00:30:00,160 --> 00:30:20,720
Speaker 1: This song is incredible. It's iconic. Probably the tenth pole

594
00:30:20,759 --> 00:30:23,640
of the whole album in my opinion. I got it.

595
00:30:23,680 --> 00:30:26,519
Speaker 4: I got it in the ondeck circle. It's it's it's

596
00:30:26,599 --> 00:30:29,720
up there for sure. But there's one more I would

597
00:30:29,720 --> 00:30:30,240
put on the.

598
00:30:30,359 --> 00:30:33,119
Speaker 1: I can understand where You're I understand where you're coming

599
00:30:33,160 --> 00:30:35,799
from on that. By the way, guys, just for clarification,

600
00:30:35,920 --> 00:30:38,319
this album is still to date and this is one

601
00:30:38,319 --> 00:30:40,880
of the greatest selling bands of all times. This is

602
00:30:40,880 --> 00:30:43,920
their biggest selling album. Incredible stuff. Yeah, it's amazing.

603
00:30:44,000 --> 00:30:46,599
Speaker 4: Okay, just a couple of little tidbits on the music video.

604
00:30:46,599 --> 00:30:49,279
Speaker 1: Okay, not a great video. It's real dark.

605
00:30:49,519 --> 00:30:52,119
Speaker 4: Guys are kind of spotlighted while they're singing. It's a

606
00:30:52,200 --> 00:30:55,640
duet between Peter Seta and Bill Champlain, which I think

607
00:30:55,640 --> 00:30:58,480
Bill Champlin's got a great voice, right, And then you

608
00:30:58,559 --> 00:31:03,599
have a few meaningless people in like negligees doing nothing

609
00:31:04,119 --> 00:31:10,240
people I mean girls, Okay, you know, of course, because.

610
00:31:10,160 --> 00:31:12,880
Speaker 1: I mean it was the eighties and there's no no story.

611
00:31:13,000 --> 00:31:15,480
Put some girls in some skimpy neglige.

612
00:31:15,400 --> 00:31:18,480
Speaker 4: Is no story. But there are cute sexy girls in

613
00:31:18,599 --> 00:31:21,279
this all right, Okay, okay. Next song on the album

614
00:31:21,359 --> 00:31:22,960
is a song called only.

615
00:31:22,720 --> 00:31:48,680
Speaker 7: You we Can tell Me.

616
00:31:50,559 --> 00:31:53,640
Speaker 1: Okay, So this song has made me discover that I

617
00:31:53,680 --> 00:31:56,920
do not have a taste for eighties jazz. This is

618
00:31:56,960 --> 00:32:00,279
a very jazzy piece. The horns, I mean, and even

619
00:32:00,279 --> 00:32:02,880
if even with the Chicago horns. And don't get me wrong, folks,

620
00:32:03,119 --> 00:32:07,279
I love the seventies horn heavy Chicago. We'll get in

621
00:32:07,359 --> 00:32:11,799
the eighties, and you give me synthesizers with very Christine like,

622
00:32:12,039 --> 00:32:16,079
almost synthesizer sounding horns. It ain't my bag, man.

623
00:32:16,279 --> 00:32:19,079
Speaker 4: You know, I understand that. But as I have gone

624
00:32:19,079 --> 00:32:21,400
through these past couple weeks listening to this album, this

625
00:32:21,480 --> 00:32:23,960
song has taken a hold on my heart. Okay, So

626
00:32:24,960 --> 00:32:28,240
I like it. It is jazzy, it is kind of

627
00:32:28,720 --> 00:32:31,279
it feels like it might belong on like Toto four

628
00:32:31,359 --> 00:32:32,000
or something like that.

629
00:32:32,079 --> 00:32:33,759
Speaker 1: Yeah, an episode of Moonlighting maybe.

630
00:32:33,839 --> 00:32:37,599
Speaker 4: Yeah, I wrote down in the movie Mannequin, like you know,

631
00:32:38,960 --> 00:32:40,400
she's dancing around.

632
00:32:40,759 --> 00:32:42,559
Speaker 1: On the mall or whatever. Yeah, I could see that.

633
00:32:42,640 --> 00:32:46,400
Speaker 4: Yeah, okay, So let's go back to LA in nineteen

634
00:32:46,440 --> 00:32:50,480
sixty eight when Chicago Transit Authority is in LA. They're

635
00:32:50,480 --> 00:32:51,599
performing at the Whiskey.

636
00:32:51,599 --> 00:32:53,160
Speaker 1: A go go, I got a story about that. Can

637
00:32:53,200 --> 00:32:56,759
I tell you that story? Yeah? Okay, So they're relatively new,

638
00:32:56,799 --> 00:32:59,480
but they are up and coming, right, they're playing some shows, right,

639
00:32:59,519 --> 00:33:02,400
and who else is big at that time? Jimmy Hendrix

640
00:33:02,559 --> 00:33:06,119
and Janis Joplin. And Janis Joplin has her entourage with

641
00:33:06,160 --> 00:33:08,240
her as she comes into I probably think it was

642
00:33:08,279 --> 00:33:12,680
the Whiskey and Walter Paris aider is sitting down and

643
00:33:12,759 --> 00:33:15,599
she drops a brush, I think, in front of him,

644
00:33:15,880 --> 00:33:17,599
and she's like, you're going to pick that up or what?

645
00:33:17,880 --> 00:33:20,759
And he said, no, I'm not going to pick it up.

646
00:33:20,839 --> 00:33:22,519
You're going to pick it up, and after you pick

647
00:33:22,559 --> 00:33:24,359
it up, you're gonna tell me you're sorry for talking

648
00:33:24,359 --> 00:33:27,359
to me like that. I love it. And she picked

649
00:33:27,400 --> 00:33:29,759
it up and she said I'm sorry. And after that

650
00:33:30,160 --> 00:33:34,519
she and the guys from Chicago became very close. They

651
00:33:34,559 --> 00:33:38,440
credit her with teaching them how to work the crowd

652
00:33:38,640 --> 00:33:42,279
while on stage. She had this incredible stage personality and

653
00:33:42,359 --> 00:33:45,880
she gave them advice about how to entice the crowd

654
00:33:46,000 --> 00:33:48,920
bring him a lively show. So credit that to Janice

655
00:33:48,960 --> 00:33:51,920
Joplin being rude and then saying she's sorry, I love it.

656
00:33:52,000 --> 00:33:52,799
It's fantastic.

657
00:33:52,839 --> 00:33:55,039
Speaker 4: Yeah, the little guy from the South Side of Chicago

658
00:33:55,440 --> 00:33:56,319
pick up my brush.

659
00:33:56,440 --> 00:33:59,559
Speaker 1: Yeah, that's fantastic. All right.

660
00:33:59,599 --> 00:34:02,839
Speaker 4: So the first album from Chicago, this is Chicago one

661
00:34:03,160 --> 00:34:07,079
Chicago Transit Authority, right. It has the single does anyone

662
00:34:07,119 --> 00:34:08,239
really know what time it is?

663
00:34:12,920 --> 00:34:16,159
Speaker 3: As I was walking down the street?

664
00:34:16,440 --> 00:34:17,159
Speaker 2: Well, they.

665
00:34:19,039 --> 00:34:20,679
Speaker 4: No, I've got my dad listening. I know you so

666
00:34:20,679 --> 00:34:21,320
hooked at this point.

667
00:34:21,360 --> 00:34:22,760
Speaker 1: Oh dude, it's a fantastic song.

668
00:34:22,840 --> 00:34:25,599
Speaker 4: It is fantastic. That's actually Robert Lamb singing that song.

669
00:34:25,679 --> 00:34:26,199
Speaker 1: Yeah. Okay.

670
00:34:26,280 --> 00:34:28,559
Speaker 4: The next year they released Chicago two.

671
00:34:28,920 --> 00:34:32,639
Speaker 1: Right, which was actually just Chicago, but this was on

672
00:34:32,719 --> 00:34:35,639
the before and after the Chicago Transit Authority called them

673
00:34:35,719 --> 00:34:38,400
up and said, stop using our name, stupid, right, So

674
00:34:38,599 --> 00:34:41,440
they they called this one originally just called it Chicago,

675
00:34:41,599 --> 00:34:44,679
but everybody kind of knows this as Chicago too, right.

676
00:34:44,880 --> 00:34:47,039
Speaker 4: The single off that album is twenty five or six

677
00:34:47,079 --> 00:34:47,440
to four.

678
00:34:56,480 --> 00:34:58,719
Speaker 1: Yeah, well they had make Me Smile to start with,

679
00:34:59,000 --> 00:35:00,639
and then yeah, twenty five I have and six to

680
00:35:00,639 --> 00:35:02,760
four is what really brought them up. I think they

681
00:35:02,840 --> 00:35:04,360
hit the top ten with that one quickly.

682
00:35:04,400 --> 00:35:07,000
Speaker 4: I'm just gonna blow through. The Chicago three comes out

683
00:35:07,000 --> 00:35:10,079
in nineteen seventy one. I didn't recognize anything off Chicago three.

684
00:35:10,239 --> 00:35:13,239
Then they have an album called Chicago at Carnegie Hall,

685
00:35:13,400 --> 00:35:16,320
and then in nineteen seventy two you have Chicago five.

686
00:35:16,599 --> 00:35:18,639
The big hit off of that one is Saturday in

687
00:35:18,679 --> 00:35:21,679
the Park Love It Say?

688
00:35:24,920 --> 00:35:29,159
Speaker 1: Thank my dad played? I think I said that my

689
00:35:29,239 --> 00:35:30,679
dad played that one all the time. Okay.

690
00:35:30,880 --> 00:35:33,119
Speaker 4: The sixth album came out in nineteen seventy three. That

691
00:35:33,199 --> 00:35:35,639
has Just You and Me and feeling stronger every day.

692
00:35:35,800 --> 00:35:37,639
Speaker 1: Okay, So do you do you know the story behind

693
00:35:37,679 --> 00:35:39,559
Just You and Me? I do not. I almost hate

694
00:35:39,559 --> 00:35:41,039
to do this because I feel like, maybe we go

695
00:35:41,079 --> 00:35:42,719
back to these albums and cover them later, but just

696
00:35:42,760 --> 00:35:44,760
in case, I'll retell the story if we did, if

697
00:35:44,760 --> 00:35:47,320
we ever do that, all right, So, James Pankau had

698
00:35:47,639 --> 00:35:50,320
he was dealing with the drug situation. He had a

699
00:35:50,360 --> 00:35:54,639
fiance and had was back home with her. They get

700
00:35:54,679 --> 00:35:56,760
an argument about something, I don't know what it was,

701
00:35:57,199 --> 00:36:00,119
and there's not getting along, and she locks herself in

702
00:36:00,159 --> 00:36:02,119
the bathroom and he's like, come on, come out, come on,

703
00:36:02,159 --> 00:36:03,719
come on, come out. And he's like, I don't know

704
00:36:03,800 --> 00:36:06,199
what came over me, but I was like, screw it.

705
00:36:06,239 --> 00:36:09,519
And he kicked the door off and kicked it in right,

706
00:36:09,639 --> 00:36:12,400
kicks the door, and he says, at that moment, he

707
00:36:12,519 --> 00:36:16,239
sees like a look of terror on his fiance's face,

708
00:36:16,320 --> 00:36:19,840
like he is. He's like, she's in fear for her life,

709
00:36:19,880 --> 00:36:22,440
and all of a sudden that makes him like realize

710
00:36:22,440 --> 00:36:26,039
what he's done, and he's he steps back immediately and

711
00:36:26,079 --> 00:36:28,840
he's just standing there, not knowing what to do. Walks

712
00:36:28,880 --> 00:36:32,360
over the piano, fortunately hits record on the tape recorder

713
00:36:32,400 --> 00:36:35,079
next to the piano, and literally the song comes out

714
00:36:35,119 --> 00:36:38,079
of him. Never played a note of it before, but

715
00:36:38,559 --> 00:36:42,079
almost from beginning to end, the entire song comes out.

716
00:36:42,239 --> 00:36:45,280
He walks back to the bathroom where his fiance is

717
00:36:45,320 --> 00:36:48,920
still sitting terrified on the edge of the toilet and

718
00:36:49,320 --> 00:36:54,559
pushes play song plays. She stands up, They embrace and

719
00:36:54,599 --> 00:36:58,039
all this forgiven. Wow. Yeah, that's fantastic, good story. Yeah,

720
00:36:58,199 --> 00:36:58,519
love it.

721
00:36:58,599 --> 00:37:01,039
Speaker 4: So off of Chicago seven, you got I've Been Searching

722
00:37:01,079 --> 00:37:03,719
So Long, which reached number nine, Wishing You Were Here,

723
00:37:03,760 --> 00:37:06,920
which hits number eleven, and Call on Me hits number six,

724
00:37:07,039 --> 00:37:09,079
you got some powerful singleses.

725
00:37:08,519 --> 00:37:10,119
Speaker 1: Are on fire. Absolutely, they are.

726
00:37:10,079 --> 00:37:12,559
Speaker 4: Crushing it in the seventies and they're just pumping out

727
00:37:12,599 --> 00:37:15,440
hit after hit. Yeah okay, and then Chicago eight comes

728
00:37:15,480 --> 00:37:19,360
out next you have Old Days Harry Truman and brand

729
00:37:19,360 --> 00:37:22,079
New Love Affair. I don't really recognize those, but they're

730
00:37:22,119 --> 00:37:24,599
still selling album Dad Yelling, My Dad yelling Hill the

731
00:37:24,679 --> 00:37:27,199
radio again okay. And then right after that they released

732
00:37:27,239 --> 00:37:30,159
their ninth album that is the first of the Chicago

733
00:37:30,280 --> 00:37:33,440
Greatest hits that's actually considered Chicago nine Okay, yep, that's

734
00:37:33,480 --> 00:37:35,280
the one where they're all they're kind of painting it's

735
00:37:35,320 --> 00:37:38,119
real famous. Oh right, right, like everybody's parents had that

736
00:37:38,199 --> 00:37:39,480
in the seventies.

737
00:37:39,039 --> 00:37:41,719
Speaker 1: Right, Yeah, great, a great album cover. Finally, the guy's

738
00:37:41,760 --> 00:37:43,760
pictures are on the album cover instead of just the

739
00:37:43,960 --> 00:37:46,000
iconic logo of Chicago. That's right.

740
00:37:46,079 --> 00:37:48,239
Speaker 4: Yeah, no, you didn't really talk about that. Why did

741
00:37:48,280 --> 00:37:50,440
they not have their faces on the albums.

742
00:37:50,480 --> 00:37:52,760
Speaker 1: Well, I mean, honestly, they they kind of wanted their

743
00:37:52,800 --> 00:37:55,559
faces on the album. This was this was their This

744
00:37:55,719 --> 00:37:58,639
was their manager's decision that, hey, we don't we needed

745
00:37:58,719 --> 00:38:01,159
this is a band, this is seven member band. We

746
00:38:01,199 --> 00:38:03,800
can't possibly have all of these faces on there and

747
00:38:03,880 --> 00:38:05,880
do them all justice. So we're just going to say no,

748
00:38:06,000 --> 00:38:08,119
We're just going to put the name Chicago and it's

749
00:38:08,159 --> 00:38:11,360
recognizable that font. It's fantastic. I wish I could come

750
00:38:11,440 --> 00:38:14,239
up with a logo that good and that timeless, like

751
00:38:14,280 --> 00:38:15,480
it's never going to change.

752
00:38:15,639 --> 00:38:17,280
Speaker 4: I saw an interview with them where they felt like

753
00:38:17,320 --> 00:38:19,960
the management was actually trying to keep them down by

754
00:38:20,000 --> 00:38:22,760
not showing their face. Sure that way, if you you know,

755
00:38:22,840 --> 00:38:24,920
if you suck, you're out of here. We replace you,

756
00:38:24,920 --> 00:38:27,119
and nobody notices, right, I know that there were some

757
00:38:27,239 --> 00:38:29,800
hard feelings there. Sure, All right, now, I want to

758
00:38:29,800 --> 00:38:33,159
talk briefly about Chicago ten. Okay, because this is where

759
00:38:33,199 --> 00:38:37,079
you have a fracture in what transpires with the band. Okay, Yes,

760
00:38:37,559 --> 00:38:40,519
So in nineteen seventy six, you have a song that

761
00:38:40,639 --> 00:38:42,840
is released that hits number one, and that song is

762
00:38:42,880 --> 00:38:44,280
called if you leave Me.

763
00:38:44,280 --> 00:39:14,639
Speaker 2: Now, If You'll take it.

764
00:39:09,960 --> 00:39:12,519
Speaker 1: Now, If you were a Chicago fan in nineteen seventy

765
00:39:12,519 --> 00:39:15,480
six and you heard this song, you might go, this

766
00:39:15,519 --> 00:39:19,199
doesn't sound like my Chicago. This is a vallad, this

767
00:39:19,280 --> 00:39:20,760
is a love song. What is this?

768
00:39:21,119 --> 00:39:22,760
Speaker 4: I think all of the guys would agree it's a

769
00:39:22,760 --> 00:39:25,239
beautiful song, But I'm not sure they were all excited

770
00:39:25,280 --> 00:39:27,280
about what happened with this song.

771
00:39:27,599 --> 00:39:32,559
Speaker 1: Yeah, I mean this one is Peter Setaria's first real song.

772
00:39:32,639 --> 00:39:34,719
Like he's been singing with the band, obviously, but this

773
00:39:34,880 --> 00:39:37,639
he hadn't written a lot. He had just been a

774
00:39:37,679 --> 00:39:41,000
bass player and okay bass player, not a great bass player,

775
00:39:41,039 --> 00:39:43,800
and okay bass player who had a good voice, and

776
00:39:43,840 --> 00:39:47,320
so yes, he fits in the piece of the larger puzzle.

777
00:39:47,400 --> 00:39:49,960
But he comes to them with this song and they

778
00:39:50,000 --> 00:39:52,599
can't deny how good the song is. It's just not

779
00:39:52,719 --> 00:39:55,280
their style, right, But they always said, you know, if

780
00:39:55,280 --> 00:39:58,119
somebody comes with a song, we're gonna give it like Toto, right,

781
00:39:58,280 --> 00:40:00,119
we will give it our best. We're not I am

782
00:40:00,119 --> 00:40:01,800
going to say you do that on your solo project.

783
00:40:01,840 --> 00:40:04,719
You know, we will all play as best we can

784
00:40:05,000 --> 00:40:07,360
on your song, even if we don't really like it ourselves.

785
00:40:07,880 --> 00:40:10,000
And most of them didn't like it. Turns out the

786
00:40:10,000 --> 00:40:11,440
rest of the world disagreed with the band.

787
00:40:11,519 --> 00:40:14,800
Speaker 4: That's exactly right. This song hits number one in October

788
00:40:14,800 --> 00:40:17,639
of nineteen seventy six. Yeah, and from this moment on

789
00:40:18,000 --> 00:40:21,320
they went from being a horn band to like ballad Town.

790
00:40:21,679 --> 00:40:24,280
Ballad Town, that's a good name for it. Yes, let's

791
00:40:24,280 --> 00:40:26,679
shift back to Chicago seventeen and go on to the

792
00:40:26,679 --> 00:40:29,920
next song. Okay, this song is called Remember the Feeling.

793
00:40:43,039 --> 00:40:47,079
Speaker 3: Shadows Hiding what I could See.

794
00:40:47,840 --> 00:40:50,760
Speaker 1: Okay, whether you like ballad Town or you don't like

795
00:40:50,840 --> 00:40:55,400
ballad Town, this song is freaking awesome. It's beautiful. I

796
00:40:55,440 --> 00:40:58,079
can't believe this wasn't a single. I can't believe I

797
00:40:58,199 --> 00:41:00,440
was not dancing with my hands on the hips of

798
00:41:00,480 --> 00:41:04,440
some girl in ninth grade at the school dance taking

799
00:41:04,519 --> 00:41:08,519
this song right, because this is another panty dropper.

800
00:41:08,599 --> 00:41:11,360
Speaker 4: It is fantastic and you're right beautiful. How did this

801
00:41:11,480 --> 00:41:13,159
not get released as a sing I have no idea.

802
00:41:13,199 --> 00:41:15,000
When I'm listening to this. I was driving in my

803
00:41:15,039 --> 00:41:17,039
car today and I'm listening to the lyrics. I'm thinking

804
00:41:17,119 --> 00:41:19,800
people should play this at weddings and stuff. I mean,

805
00:41:19,840 --> 00:41:21,840
it's so sweets great.

806
00:41:22,239 --> 00:41:24,360
Speaker 1: Oh my Gosha.

807
00:41:30,239 --> 00:41:37,000
Speaker 3: Comes from it was it to be.

808
00:41:39,079 --> 00:41:41,519
Speaker 1: So this is another one written by Peter Setara and

809
00:41:41,559 --> 00:41:44,480
Bill Champlain. Peter Stara, of course, is singing this song.

810
00:41:44,639 --> 00:41:47,000
I still can't figure out how this did not I

811
00:41:47,039 --> 00:41:49,679
mean with it, with the record companies as obsessed with

812
00:41:49,760 --> 00:41:53,239
they were with them being a ballad town band. How

813
00:41:53,239 --> 00:41:55,400
do they not release this? I don't know. I don't know.

814
00:41:55,639 --> 00:41:57,320
Speaker 4: This song needs to be heard by more people.

815
00:41:57,360 --> 00:41:58,360
Speaker 1: It does. It's incredible.

816
00:41:58,480 --> 00:42:01,880
Speaker 4: Okay, man, love it. I was in my car today,

817
00:42:01,920 --> 00:42:06,800
I'm like, liquid joy, liquid joy.

818
00:42:07,440 --> 00:42:07,840
Speaker 1: Okay.

819
00:42:08,079 --> 00:42:11,559
Speaker 4: So after Chicago ten, you have the release of Chicago

820
00:42:11,679 --> 00:42:13,639
eleven in nineteen seventy seven.

821
00:42:13,920 --> 00:42:16,599
Speaker 1: So original follow me on this if you can. Okay.

822
00:42:17,679 --> 00:42:20,679
Speaker 4: Then they have a song called Baby What a Big Surprise?

823
00:42:23,400 --> 00:42:25,199
Speaker 6: Baby like a big sad.

824
00:42:30,679 --> 00:42:34,239
Speaker 4: This is another Peter Sata song. It's another ballad town

825
00:42:34,360 --> 00:42:35,840
song and guess what, it.

826
00:42:35,679 --> 00:42:37,119
Speaker 1: Blows it up, blows it up.

827
00:42:37,519 --> 00:42:39,119
Speaker 4: And I was thinking about this, I'm like, you know,

828
00:42:39,360 --> 00:42:41,639
I knew some of the guys had hard feelings about

829
00:42:41,679 --> 00:42:43,679
the direction that they were going, but it's kind of

830
00:42:43,719 --> 00:42:46,400
hard to be mad when you're making money and you're

831
00:42:46,440 --> 00:42:48,719
being successful, and you're being recognized and all these things

832
00:42:48,719 --> 00:42:49,119
are happening.

833
00:42:49,199 --> 00:42:51,280
Speaker 1: For you. Yeah, Le's they had a drug habit to feed.

834
00:42:51,480 --> 00:42:54,360
Speaker 4: That's right, that's right. And you know I also saw

835
00:42:54,440 --> 00:42:56,320
him Peter Stare talking about that. He's like, you know,

836
00:42:56,360 --> 00:42:58,719
people thought we were clean cut and good guys, and

837
00:42:58,760 --> 00:43:01,480
you guys, we were doing as much drugs as anybody.

838
00:43:01,760 --> 00:43:05,880
Speaker 1: Yeah. Yeah. Their producer actually built a ranch for them

839
00:43:06,199 --> 00:43:10,360
to produce albums on, literally secluded from the rest of

840
00:43:10,400 --> 00:43:13,480
the world, but not so secluded that the local college

841
00:43:13,559 --> 00:43:16,840
kids couldn't come over and party with them and bring

842
00:43:16,880 --> 00:43:21,360
all of the best marijuana, cocaine and LSD anything like that,

843
00:43:21,480 --> 00:43:23,800
And they had a bank account at their disposal at

844
00:43:23,840 --> 00:43:28,159
that point. It seemed like a good idea at the time, right.

845
00:43:28,679 --> 00:43:31,920
Speaker 4: You know, Just a little tidbit on that particular studio.

846
00:43:32,039 --> 00:43:35,679
The last album recorded there was a contemporary Christian classic

847
00:43:35,719 --> 00:43:37,159
by Amy Grant, and then it burned down.

848
00:43:37,440 --> 00:43:39,639
Speaker 1: Oh wow, oh my gosh.

849
00:43:39,679 --> 00:43:44,960
Speaker 4: Okay, now, then, between Chicago eleven and Chicago twelve, we

850
00:43:45,360 --> 00:43:50,159
have another major thing that impacts the future and direction

851
00:43:50,199 --> 00:43:52,159
of Chicago. Yeah, why don't you tell us the story

852
00:43:52,199 --> 00:43:53,039
of Terry Cath.

853
00:43:52,880 --> 00:43:56,760
Speaker 1: Okay, So, Terry was a guy. I mean, so first

854
00:43:56,800 --> 00:44:00,599
we've established that he is arguably one of the greatest

855
00:44:00,599 --> 00:44:03,119
guitar players of all time. For Jimmy Hendrix to say

856
00:44:03,119 --> 00:44:05,280
that you have to go, well, why why did he

857
00:44:05,320 --> 00:44:07,639
say that? So he grew up. He started playing banjo

858
00:44:07,800 --> 00:44:10,440
when he was a kid, but he had his mother

859
00:44:10,480 --> 00:44:12,400
played the banjo, so he learned that from her. His

860
00:44:12,480 --> 00:44:14,920
brother played I believe, the drums. He learned that, then

861
00:44:14,960 --> 00:44:17,519
he picked up the guitar. I mean he basically he

862
00:44:17,559 --> 00:44:21,559
could play anything. But his musical taste was also included

863
00:44:22,079 --> 00:44:26,800
jazz and big band and all of these other different

864
00:44:26,880 --> 00:44:30,639
genres of music, which made him an incredibly well rounded guy.

865
00:44:30,920 --> 00:44:33,920
He had. His voice was this kind of soulful thing

866
00:44:33,960 --> 00:44:37,320
that people would compare to Ray Charles. His guitar playing

867
00:44:37,480 --> 00:44:41,440
was mirrored that of Jimmy Hendrix plus and he was

868
00:44:41,519 --> 00:44:44,400
the driving force behind the band because his personality was

869
00:44:44,480 --> 00:44:49,159
such that he live life on full throttle all of

870
00:44:49,320 --> 00:44:53,800
the time right. And he loved riding fast on motorcycles.

871
00:44:53,960 --> 00:44:57,320
He loved drinking, he loved doing drugs, and he loved

872
00:44:57,360 --> 00:45:00,079
shooting guns. He was a hunter and a fisher and

873
00:45:00,079 --> 00:45:02,880
he knew his way around guns, and all of those

874
00:45:02,920 --> 00:45:07,119
things came together in a tragic moment. He was at

875
00:45:07,119 --> 00:45:10,159
a party with one of the road crew, a guy

876
00:45:10,239 --> 00:45:14,039
named Donnie Johnson, and basically they've not don Johnson, not

877
00:45:14,119 --> 00:45:18,360
don Johnson, Donnie Johnson, donn it was done. Yeah, but anyway,

878
00:45:19,000 --> 00:45:22,039
so it's wee hours of the morning, most of the

879
00:45:22,039 --> 00:45:24,519
people have left. Terry gets out one of his guns

880
00:45:24,559 --> 00:45:28,519
and starts cleaning it, and Donnie says, Terry, you've been

881
00:45:28,599 --> 00:45:31,840
up for like hours, it's been a rough night. Maybe

882
00:45:31,880 --> 00:45:34,800
don't clean your gun right now, And he, to show

883
00:45:35,000 --> 00:45:37,360
Donnie that he knows what he's doing, takes the clip

884
00:45:37,440 --> 00:45:39,039
out of the gun and he says, look, it's not

885
00:45:39,119 --> 00:45:41,400
even look at the clips, not even loaded. Pulls the

886
00:45:41,400 --> 00:45:43,039
trigger to show that it's not loaded. Well, when the

887
00:45:43,039 --> 00:45:45,320
clip's not in it, the trigger won't fire. But there's

888
00:45:45,320 --> 00:45:47,760
one in the chamber that he doesn't know about. Yeah.

889
00:45:47,880 --> 00:45:50,719
He puts the clip back in, puts it to his

890
00:45:50,719 --> 00:45:52,960
head to show him that they're that it's not loaded,

891
00:45:53,559 --> 00:45:55,480
pulls the trigger, which works this time, and the one

892
00:45:55,519 --> 00:45:57,320
in the chamber ends his life.

893
00:45:57,440 --> 00:46:01,079
Speaker 4: Codem all right, hit stop on your tape player, kick

894
00:46:01,119 --> 00:46:04,400
it out, flip it over for side two of Chicago seventeen.

895
00:46:04,480 --> 00:46:18,280
This song is called Along Comes a Woman I Love

896
00:46:18,320 --> 00:46:21,199
the song. I love this song. Oh it's great, great

897
00:46:21,239 --> 00:46:21,679
pop song.

898
00:46:21,760 --> 00:46:23,719
Speaker 1: It takes me right back to nineteen eighty five, it

899
00:46:23,760 --> 00:46:28,079
really And so this one's got another video. I say,

900
00:46:28,159 --> 00:46:30,320
turn and look over here. I'm like, there it is

901
00:46:30,440 --> 00:46:32,559
right there. There's the Raiders poster right over there over

902
00:46:32,599 --> 00:46:35,800
your shoulder. No, this is I mean, you know, Raiders

903
00:46:35,880 --> 00:46:39,840
is based upon like the old Humphrey Bogart movies. And

904
00:46:40,000 --> 00:46:42,519
basically they kind of said, well, you know, Raiders of

905
00:46:42,519 --> 00:46:44,840
the Lost Arc was great, Let's do a video like that,

906
00:46:44,880 --> 00:46:48,079
but let's do the throwback to the Humphrey Bogart style.

907
00:46:48,159 --> 00:46:50,000
So it's all in black and white. Do you remember

908
00:46:50,000 --> 00:46:51,840
the TV show The Wombles from the eighties.

909
00:46:52,119 --> 00:46:52,559
Speaker 4: I do not.

910
00:46:52,760 --> 00:46:54,880
Speaker 1: I didn't figure that you did. So the guy who

911
00:46:54,920 --> 00:46:57,679
directed the video is a guy named Jay Duban, and

912
00:46:57,719 --> 00:47:00,199
he also directed The Wombles, which I also had not

913
00:47:00,320 --> 00:47:03,400
heard of. But I don't know that he's done anything else. Okay, step,

914
00:47:03,480 --> 00:47:05,239
but this is a fun little video for a guy

915
00:47:05,280 --> 00:47:06,960
who hasn't done anything else this.

916
00:47:07,079 --> 00:47:10,039
Speaker 4: So, yes, we've talked several times. I think Hungry Like

917
00:47:10,079 --> 00:47:13,119
the Wolf is a based on Raiders of the Lost Ark. Sure,

918
00:47:13,159 --> 00:47:15,719
this is absolutely based on Raiders of the Lost Ark

919
00:47:15,760 --> 00:47:18,440
and it transitions into Casablanca.

920
00:47:18,480 --> 00:47:18,880
Speaker 1: Yeah. Right.

921
00:47:18,920 --> 00:47:22,679
Speaker 4: So the director you mentioned, Jay Dubin who did the Wombles, Okay.

922
00:47:22,719 --> 00:47:25,440
He also did Get Ready to Have Your Socks Blown

923
00:47:25,440 --> 00:47:25,719
Off Here?

924
00:47:25,800 --> 00:47:26,079
Speaker 1: Okay.

925
00:47:26,559 --> 00:47:28,800
Speaker 4: So he did Uptown Girl, Tell Her About It the

926
00:47:28,880 --> 00:47:31,679
Longest Time, those videos by Billy Joel Nice. He did

927
00:47:31,719 --> 00:47:33,880
Private Eye. I Can't go for that and You Make

928
00:47:33,920 --> 00:47:36,519
My Dreams Come True by Holland Oates Okay, okay. He

929
00:47:36,599 --> 00:47:38,519
also did the Joe Piscopo Special.

930
00:47:40,480 --> 00:47:42,760
Speaker 1: Okay. I guess that was before anybody figured out that

931
00:47:42,800 --> 00:47:44,280
Joe Piscopo wasn't funny, right.

932
00:47:45,480 --> 00:47:49,920
Speaker 4: He did the Diceman Cometh, the Andrew Dice Clay Special okay,

933
00:47:50,280 --> 00:47:53,320
and he also did Tiffany at Disney World.

934
00:47:55,639 --> 00:47:58,039
Speaker 1: Hey got to take the work when you Hey, I,

935
00:47:58,400 --> 00:48:00,280
I mean, I would not complain if that is my

936
00:48:00,400 --> 00:48:03,519
directing career. I wouldn't be happy with that, That's right.

937
00:48:03,719 --> 00:48:04,159
That's right.

938
00:48:04,199 --> 00:48:07,000
Speaker 4: So this song was released February of nineteen eighty five.

939
00:48:07,039 --> 00:48:11,199
It reaches number fourteenth. This is the fourth single and

940
00:48:11,239 --> 00:48:14,199
the final single with Peter setis the singer.

941
00:48:31,679 --> 00:48:32,599
Speaker 1: Yeah It's crazy.

942
00:48:32,760 --> 00:48:35,239
Speaker 4: By the way, in this video, I looked who is

943
00:48:35,280 --> 00:48:37,480
the woman. Oh yeah, yeah, I wanted to know who

944
00:48:37,519 --> 00:48:41,320
the woman is. Okay, so no real strong Well, nothing

945
00:48:41,440 --> 00:48:44,800
verifiable on the internet about who she actually is, but

946
00:48:44,840 --> 00:48:48,079
the urban legend is that it's Dorothy Mays. I showed

947
00:48:48,079 --> 00:48:49,239
you a picture of Dorothy Mays.

948
00:48:49,440 --> 00:48:50,880
Speaker 1: You did she forgot to bring her clothes.

949
00:48:52,840 --> 00:48:55,039
Speaker 4: That would be miss July nineteen seventy nine.

950
00:48:55,119 --> 00:48:56,880
Speaker 1: Uh huh, she's studying, sure is.

951
00:48:58,199 --> 00:49:01,440
Speaker 4: I couldn't nail it down. I really wanted to pin

952
00:49:01,519 --> 00:49:02,159
that down on her.

953
00:49:02,239 --> 00:49:04,159
Speaker 1: But I would tell you whether I thought it was

954
00:49:04,159 --> 00:49:05,880
the same girl in the video or not, but I

955
00:49:05,920 --> 00:49:11,880
can't remember what her face looked like. Oh my gosh.

956
00:49:11,960 --> 00:49:16,119
Speaker 4: By the way, the week that this song tops out

957
00:49:16,159 --> 00:49:19,039
at number fourteen on the Hot one hundred, yep, you're

958
00:49:19,079 --> 00:49:22,000
packed full of incredible songs, but at the top and

959
00:49:22,159 --> 00:49:23,960
like immovable as we are the.

960
00:49:23,920 --> 00:49:27,599
Speaker 1: World of course. Okay, So co writing credit on this

961
00:49:27,639 --> 00:49:31,119
one Peter Setara and a guy named Mark Goldenberg. Mark

962
00:49:31,119 --> 00:49:35,079
Goldenberg also co wrote Automatic by the Pointer Sisters. Oh

963
00:49:35,079 --> 00:49:36,880
I love this song. Yeah, it's great. An another great

964
00:49:36,880 --> 00:49:38,000
song from the eighties.

965
00:49:37,719 --> 00:49:40,800
Speaker 4: From eighty forty five right around the same time. Yeah, exactly,

966
00:49:40,960 --> 00:49:43,920
very good, all right, fun song, fun video.

967
00:49:44,119 --> 00:49:47,679
Speaker 1: Absolutely love it. Yeah, so before we get to here, right, Okay,

968
00:49:47,880 --> 00:49:50,840
So I got I've talked about Caleb multiple times. Right,

969
00:49:50,960 --> 00:49:56,039
he's my head banging, hard hitting football Loven football Loven

970
00:49:56,599 --> 00:50:01,559
and I'm driving in my car and he says, Dad,

971
00:50:01,599 --> 00:50:04,199
can you put on this song? And I said, where

972
00:50:04,239 --> 00:50:06,920
have you heard of this song? And he goes, Dad,

973
00:50:07,039 --> 00:50:11,079
It's Chicago And I'm like, what, who are you? What

974
00:50:11,159 --> 00:50:14,000
is it are you talking about? And so for him,

975
00:50:14,360 --> 00:50:16,280
I cranked up. You are the inspiration.

976
00:50:22,679 --> 00:50:29,880
Speaker 3: You know, love was meant to be? Kind of love

977
00:50:30,199 --> 00:50:31,039
the last.

978
00:50:33,639 --> 00:50:35,079
Speaker 1: D Wow.

979
00:50:36,719 --> 00:50:41,079
Speaker 4: There are panty droppers and then there, I mean, this

980
00:50:41,280 --> 00:50:44,280
is a Mount Rushmore makeout mixed song right here.

981
00:50:44,320 --> 00:50:46,360
Speaker 1: Who was I can't remember who'said it? Maybe maybe it

982
00:50:46,400 --> 00:50:48,679
was you that said it. There are painty droppers, and

983
00:50:48,719 --> 00:50:51,239
then there are songs that as you're driving in the

984
00:50:51,280 --> 00:50:53,480
car playing the song and the girl chases after you

985
00:50:53,559 --> 00:50:54,719
with brows are painted at you.

986
00:50:55,679 --> 00:50:56,119
Speaker 6: That's it.

987
00:50:56,719 --> 00:50:57,159
Speaker 2: That was me.

988
00:50:57,360 --> 00:51:07,679
Speaker 6: I didn't say that.

989
00:51:09,480 --> 00:51:11,960
Speaker 1: And the story behind is fantastic. And I know that

990
00:51:12,000 --> 00:51:13,760
you've told me this story before, but did we tell

991
00:51:13,760 --> 00:51:15,639
it on an episode or did you just told it? Okay?

992
00:51:15,679 --> 00:51:17,239
Speaker 4: So yeah, we talked about it on our Best of

993
00:51:17,239 --> 00:51:17,719
eighty four.

994
00:51:17,920 --> 00:51:20,039
Speaker 1: Yeah, well go check out that episode, even though you're

995
00:51:20,039 --> 00:51:22,039
probably gonna hear the story again. But this is such

996
00:51:22,039 --> 00:51:23,320
a great story you got to tell it. Rice.

997
00:51:24,039 --> 00:51:26,199
Speaker 4: So, Peter Sitara is at home one day and David

998
00:51:26,199 --> 00:51:28,840
Foster calls him and says, hey, Kenny Rogers wants you

999
00:51:28,880 --> 00:51:30,440
to write a song for me. We need to write

1000
00:51:30,480 --> 00:51:33,559
a song for Kenny Rodgers. And Peter Sitara is like, okay,

1001
00:51:33,719 --> 00:51:37,039
sounds good. I mean I'm leaving for Italy here in

1002
00:51:37,079 --> 00:51:39,039
a few hours, but I can do it maybe in

1003
00:51:39,079 --> 00:51:43,039
a couple of weeks. David Foster's like, no today now right.

1004
00:51:43,119 --> 00:51:44,960
Kenny wants it now, get in the car and come

1005
00:51:45,000 --> 00:51:48,679
over right now. He's like, I'm going to Italy. He's like, well,

1006
00:51:48,760 --> 00:51:50,440
I mean, I guess my plane doesn't leave for a

1007
00:51:50,480 --> 00:51:52,119
few hours, so I guess I can come by for

1008
00:51:52,159 --> 00:51:54,280
a little bit. So he drives over of the studio,

1009
00:51:54,400 --> 00:51:57,119
him and David Foster sit down, they kind of bang

1010
00:51:57,159 --> 00:52:00,480
out the bones of the song. He flies to Italy,

1011
00:52:00,519 --> 00:52:02,639
and then while he's in Italy he kind of finishes it.

1012
00:52:02,639 --> 00:52:07,599
Speaker 1: Up, thinking about Michael Angelo. You're the inspiration there.

1013
00:52:07,639 --> 00:52:11,639
Speaker 4: You go right well, for whatever reason, Kenny just kind

1014
00:52:11,679 --> 00:52:13,199
of falls asleep on it and passes on.

1015
00:52:13,239 --> 00:52:14,039
Speaker 1: It doesn't really do that.

1016
00:52:14,360 --> 00:52:17,960
Speaker 4: Yeah, right, and so Peter stairs like, okay, by me,

1017
00:52:18,119 --> 00:52:20,360
I'll grab this and turn it into a number three hit.

1018
00:52:20,559 --> 00:52:23,199
Speaker 1: Yeah. I mean, can you imagine if Kenny had done

1019
00:52:23,239 --> 00:52:26,199
this song? Would this have been another Islands in the Stream?

1020
00:52:26,320 --> 00:52:29,239
Speaker 4: I mean, yeah, it's a great song. Who knows what

1021
00:52:29,440 --> 00:52:30,360
could have done with it?

1022
00:52:30,519 --> 00:52:31,199
Speaker 1: Yeah.

1023
00:52:31,400 --> 00:52:34,400
Speaker 4: So this was released October three, verse Halloween of nineteen

1024
00:52:34,440 --> 00:52:38,239
eighty four. It reached number three. It's such a great song.

1025
00:52:38,320 --> 00:52:40,000
Speaker 1: It's the other tempole of the album. You got a

1026
00:52:40,000 --> 00:52:43,679
tempole in the middle of side one.

1027
00:52:43,880 --> 00:52:45,320
Speaker 4: I got to roll through this top ten. I know

1028
00:52:45,400 --> 00:52:46,559
I've done this a couple of times, but.

1029
00:52:46,719 --> 00:52:48,800
Speaker 1: That's all right. We all love these songs and it

1030
00:52:48,840 --> 00:52:50,800
takes us back to this time. It's just what we're

1031
00:52:50,840 --> 00:52:51,599
here for. Okay.

1032
00:52:51,760 --> 00:52:54,599
Speaker 4: So we've talked about several of these songs. Number eleven

1033
00:52:54,920 --> 00:52:59,199
on the Billboard in January on January nineteenth of nineteen

1034
00:52:59,199 --> 00:53:02,440
eighty five. Number eleven is Sea of Love by the

1035
00:53:02,480 --> 00:53:03,280
Honey Drippers.

1036
00:53:03,679 --> 00:53:05,519
Speaker 1: Oh, Rubbert Plant spanned, Yeah.

1037
00:53:05,360 --> 00:53:09,760
Speaker 4: That's right, Robert Plant side project. Number ten is Careless

1038
00:53:09,760 --> 00:53:11,199
Whisperer by Wham.

1039
00:53:11,199 --> 00:53:13,000
Speaker 1: Of Course, Fantastic Yeah.

1040
00:53:13,280 --> 00:53:16,360
Speaker 4: Number nine is born in the USA Springsteen YEP. Number

1041
00:53:16,360 --> 00:53:19,280
eight We Belong by Pat Benatar, Nice number seven The

1042
00:53:19,280 --> 00:53:20,800
Wild Boys by Duran Duran.

1043
00:53:20,800 --> 00:53:21,599
Speaker 1: Fantastic Yeah.

1044
00:53:21,679 --> 00:53:25,880
Speaker 4: Number six, Run to You by Brian Adams. Number five

1045
00:53:26,000 --> 00:53:29,639
Easy Lover by Philip Bailey and Phil Collins YEP The Phils,

1046
00:53:29,760 --> 00:53:32,400
The Phils. Number four I Want to Know What Love

1047
00:53:32,519 --> 00:53:33,679
Is by Foreigner.

1048
00:53:33,480 --> 00:53:36,079
Speaker 1: Oh my gosh, okay, oh my gosh.

1049
00:53:36,199 --> 00:53:39,159
Speaker 4: Number three Year the Inspiration. Okay, now pick out the

1050
00:53:39,159 --> 00:53:41,559
one that doesn't fit. Number two All I Need by

1051
00:53:41,639 --> 00:53:42,360
Jack Wagner.

1052
00:53:44,159 --> 00:53:46,440
Speaker 1: How does Jack Wagner keep popping up?

1053
00:53:46,679 --> 00:53:47,960
Speaker 4: It's like a bad penny.

1054
00:53:48,119 --> 00:53:49,320
Speaker 1: You don't always around.

1055
00:53:49,480 --> 00:53:52,719
Speaker 4: What this one song is always.

1056
00:53:52,320 --> 00:53:54,000
Speaker 1: Around Jack Wagner.

1057
00:53:54,159 --> 00:53:57,119
Speaker 4: Oh my god, go back to our Motley Crue Girls,

1058
00:53:57,159 --> 00:53:58,840
Girls Girls episode.

1059
00:53:59,000 --> 00:54:01,159
Speaker 1: He's come up multiple time. I can't figure it out.

1060
00:54:01,559 --> 00:54:04,360
Speaker 4: He inspired a song called You're All I Need by

1061
00:54:04,360 --> 00:54:07,559
Motley Crue where Nicky six wanted to kill him.

1062
00:54:07,840 --> 00:54:10,000
Speaker 1: Break his legs, just break his legs.

1063
00:54:10,039 --> 00:54:12,199
Speaker 4: And number one is Like a Virgin by Madonna.

1064
00:54:12,280 --> 00:54:15,079
Speaker 1: Well that's kind of a big, kind of iconic for

1065
00:54:15,199 --> 00:54:16,159
nineteen eighty five.

1066
00:54:16,320 --> 00:54:22,000
Speaker 4: Yeah, oh man, such a great song, you know, I

1067
00:54:22,000 --> 00:54:23,800
asked you when you look at the video. It's not

1068
00:54:23,840 --> 00:54:24,480
a great video.

1069
00:54:24,559 --> 00:54:25,880
Speaker 1: The acting in this terrible.

1070
00:54:26,199 --> 00:54:28,199
Speaker 4: And if you've ever wanted to see Billy Idol make

1071
00:54:28,239 --> 00:54:30,360
out with Madonna, you do get that in this video.

1072
00:54:30,480 --> 00:54:33,119
Speaker 1: It's not the actual Billy Idol or the actual Madonna.

1073
00:54:33,159 --> 00:54:35,239
It's just to look alike likes, yes.

1074
00:54:35,039 --> 00:54:37,239
Speaker 4: And they're all just kind of laying on couches while

1075
00:54:37,239 --> 00:54:40,599
they're playing this song. The video does not do this

1076
00:54:40,760 --> 00:54:41,440
song justice.

1077
00:54:41,559 --> 00:54:44,000
Speaker 1: Yeah, what's weird is like Peter Satarra's bass is like

1078
00:54:44,000 --> 00:54:46,960
flipped upside down is yes, what I don't even know

1079
00:54:47,000 --> 00:54:48,199
what he's doing. It's weird.

1080
00:54:48,400 --> 00:54:49,559
Speaker 4: I would never have known that.

1081
00:54:49,679 --> 00:54:51,800
Speaker 1: Well, here's the and here's the story on that. Right,

1082
00:54:52,159 --> 00:54:55,400
So we talk about, you know, David Foster being the

1083
00:54:55,440 --> 00:54:57,920
guy that turned these guys around, right and made them

1084
00:54:57,920 --> 00:55:01,320
the hit monsters that would that came out of Chicago

1085
00:55:01,440 --> 00:55:04,760
sixteen and this album Chicago seventeen. He said that as

1086
00:55:04,800 --> 00:55:07,920
they're you know, as they're doing some recording on Chicago sixteen,

1087
00:55:08,039 --> 00:55:10,440
get done with the song and he's like, hey, Peter,

1088
00:55:10,599 --> 00:55:13,440
you hit the wrong note. It was a G, not

1089
00:55:13,559 --> 00:55:15,320
an F. You hit an F. We we need to

1090
00:55:15,400 --> 00:55:17,360
hit the G the next time we do this. Just

1091
00:55:17,519 --> 00:55:19,760
that's what you say as a producer. Right, he knows music,

1092
00:55:19,800 --> 00:55:21,519
he knows he's got the ear. This is why the

1093
00:55:21,559 --> 00:55:24,559
guy is getting paid. Right. Peter Seta comes into the

1094
00:55:24,559 --> 00:55:30,079
booth and is like, don't ever correct me in front

1095
00:55:30,119 --> 00:55:33,440
of the band again, and I'm not playing bass anymore.

1096
00:55:33,679 --> 00:55:37,280
You're playing bass. What it was that moment that these

1097
00:55:37,280 --> 00:55:41,559
guys started writing songs together, like somehow, that little that

1098
00:55:41,679 --> 00:55:46,840
little heated moment where David Foster is like, Okay, I'll

1099
00:55:46,840 --> 00:55:50,480
go play the bass better than you, and then somehow

1100
00:55:50,760 --> 00:55:53,440
that you know, this is kind of like the guys

1101
00:55:53,440 --> 00:55:55,840
on the football field when you hit hit a guy

1102
00:55:55,880 --> 00:55:59,159
hard and he comes back and hits you harder. You're like, Okay,

1103
00:55:59,199 --> 00:56:03,199
this guy's cool. Wow, yeah, good story. I like that one. Yeah, Okay,

1104
00:56:03,679 --> 00:56:04,440
going on the next song.

1105
00:56:04,920 --> 00:56:09,239
Speaker 4: I hate to leave this makeout class. Let's go on

1106
00:56:09,239 --> 00:56:09,840
in the next song.

1107
00:56:09,920 --> 00:56:10,199
Speaker 1: Okay.

1108
00:56:10,199 --> 00:56:11,920
Speaker 4: This song is called Please hold On.

1109
00:56:28,679 --> 00:56:31,760
Speaker 6: You Love Me.

1110
00:56:32,320 --> 00:56:35,480
Speaker 1: So this is Bill Champlain singing yep, just Bill Champlain, yep,

1111
00:56:35,599 --> 00:56:39,199
none of the other guys. Written by Bill Champlain, David Foster,

1112
00:56:39,360 --> 00:56:41,199
and Linel Richie.

1113
00:56:41,840 --> 00:56:44,119
Speaker 4: Oh good good, I love that very good.

1114
00:56:44,159 --> 00:56:46,960
Speaker 1: It's kind of funky. I'm not I'm not skipping it.

1115
00:56:46,960 --> 00:56:50,559
It's it's eighties jazz, but it's it's more listenable than

1116
00:56:50,639 --> 00:56:51,599
some of the other ones. Yeah.

1117
00:56:51,639 --> 00:56:52,920
Speaker 4: I like Bill Champlin's voice.

1118
00:56:52,960 --> 00:56:53,440
Speaker 1: I do too.

1119
00:56:53,519 --> 00:56:56,000
Speaker 4: Yeah, And Lionel Richie knows how to write good songs exactly,

1120
00:56:56,119 --> 00:56:58,360
So it is David Foster, so it's Bill Champlin.

1121
00:56:58,760 --> 00:56:59,559
Speaker 1: Yeah, it works for me.

1122
00:56:59,760 --> 00:57:03,440
Speaker 4: Yeah, Okay, let's flip back to I'm going to talk

1123
00:57:03,440 --> 00:57:05,000
about Chicago twelve real quick.

1124
00:57:05,119 --> 00:57:05,440
Speaker 1: Okay.

1125
00:57:05,960 --> 00:57:08,679
Speaker 4: Chicago twelve came out in nineteen seventy eight.

1126
00:57:08,599 --> 00:57:10,000
Speaker 1: But it wasn't call it Chicago twelve.

1127
00:57:10,280 --> 00:57:11,880
Speaker 4: Okay, it's called Hot Streets.

1128
00:57:12,360 --> 00:57:12,760
Speaker 1: Okay.

1129
00:57:12,960 --> 00:57:17,119
Speaker 4: That record was not commercially successful. Okay, Right, so they

1130
00:57:17,119 --> 00:57:19,800
try again in nineteen seventy nine. This time they call

1131
00:57:19,840 --> 00:57:24,119
it Chicago thirteen. That album not commercially successful. Right, Let's

1132
00:57:24,119 --> 00:57:27,239
try again Chicago fourteen and nineteen eighty. We just did

1133
00:57:27,239 --> 00:57:31,800
our best of nineteen eighty nothing nothing, just three albums

1134
00:57:31,840 --> 00:57:33,239
a row, nothing crickets.

1135
00:57:33,480 --> 00:57:36,199
Speaker 1: Like these guys. These guys had reached the end of

1136
00:57:36,239 --> 00:57:40,800
their creative rope and the depths of their addictions, and

1137
00:57:41,199 --> 00:57:43,559
you know, they've been together for a long time at

1138
00:57:43,559 --> 00:57:46,360
this point, and things, you know, the relationship was sour

1139
00:57:46,519 --> 00:57:47,480
with a lot of guys.

1140
00:57:47,559 --> 00:57:49,480
Speaker 4: All good things must come to an end.

1141
00:57:49,880 --> 00:57:53,400
Speaker 1: Well, like I said for Columbia, that was true. Guys

1142
00:57:53,760 --> 00:57:57,159
were done. So they're dropped, dropped. Do Chicago fifteen as

1143
00:57:57,199 --> 00:58:00,800
the greatest hits. And then we get Chicago where they've

1144
00:58:00,840 --> 00:58:04,039
moved over to Irving azof who's got his own record

1145
00:58:04,079 --> 00:58:07,199
label that's a subsidiary of the Warner label, and they've

1146
00:58:07,199 --> 00:58:10,239
got David Foster in to help them rise from the ashes.

1147
00:58:10,480 --> 00:58:15,199
Speaker 4: So with Chicago sixteen, yeah, they're poised and ready, and

1148
00:58:15,239 --> 00:58:17,719
they release a song called hard to Say.

1149
00:58:17,519 --> 00:58:44,400
Speaker 1: I'm Sorry, I'm kind to say, arguably one of the

1150
00:58:44,440 --> 00:58:50,800
best opening verses of any song ever. That's great, It's devastating.

1151
00:58:50,960 --> 00:58:52,000
Speaker 4: This song is so good.

1152
00:58:52,239 --> 00:58:53,800
Speaker 1: So did you know they made this? They did this

1153
00:58:53,840 --> 00:58:56,559
for a movie? What this is? This is in a

1154
00:58:56,639 --> 00:58:59,519
movie before it Before It doesn't.

1155
00:58:59,239 --> 00:59:00,639
Speaker 4: That stupid Brian Adams movie.

1156
00:59:00,679 --> 00:59:03,199
Speaker 1: Isn't No No. This is an old Darryl Hannah movie

1157
00:59:03,639 --> 00:59:09,000
called Summer Lovers. Yes, okay, And literally you've got that

1158
00:59:09,199 --> 00:59:12,239
intro piano piano playing at this kind of pivotal moment

1159
00:59:12,320 --> 00:59:15,280
in the movie, and all of a sudden you hear

1160
00:59:15,599 --> 00:59:18,920
like this motorcycle revving up, and the motorcycle gets louder

1161
00:59:18,920 --> 00:59:21,800
and louder as the guy's coming forward, and they don't

1162
00:59:21,840 --> 00:59:23,480
even you don't even hear any of the lyrics of

1163
00:59:23,559 --> 00:59:28,079
the song. It's just like this brief little snippet of

1164
00:59:28,119 --> 00:59:30,960
this incredible song that the guys who are doing the

1165
00:59:31,000 --> 00:59:34,679
soundtrack to this movie are just idiots and just don't

1166
00:59:34,719 --> 00:59:38,079
take advantage of at all. But you know, it goes

1167
00:59:38,079 --> 00:59:39,960
on to be a number one song, so not too

1168
00:59:40,039 --> 00:59:42,159
bad Lands on his feet after all.

1169
00:59:42,800 --> 00:59:45,679
Speaker 4: So this song does hit number one despite the movie

1170
00:59:45,679 --> 00:59:48,440
people not knowing what the heck they're doing. Yeah, but

1171
00:59:48,519 --> 00:59:52,440
this is their big comeback, and you know what, big big, Yeah,

1172
00:59:52,440 --> 00:59:55,480
this after three albums of nothing, and you come out

1173
00:59:55,559 --> 00:59:57,880
and you go to Balladtown and it brings you a

1174
00:59:57,960 --> 00:59:59,679
number one hit and puts you back on your feet.

1175
00:59:59,719 --> 01:00:03,000
And with the record, you've got to go to Ballatown now. Yeah,

1176
01:00:03,079 --> 01:00:06,440
you have to say goodbye to the old stuff and

1177
01:00:06,519 --> 01:00:07,639
embrace what is new.

1178
01:00:08,119 --> 01:00:10,480
Speaker 1: Yeah. Well that didn't sit well with a lot of

1179
01:00:10,519 --> 01:00:12,800
the guys. Yeah, but they I mean, as one of

1180
01:00:12,840 --> 01:00:15,639
them said, it built the pool in my backyard, so

1181
01:00:15,719 --> 01:00:17,719
it's hard for me to be really better it's hard

1182
01:00:17,760 --> 01:00:21,159
for me to say, I'm sorry, right, right.

1183
01:00:21,440 --> 01:00:24,639
Speaker 4: I heard Peter Stara talking about in the Along Comes

1184
01:00:24,679 --> 01:00:27,119
a Woman video when they got together to kind of

1185
01:00:27,159 --> 01:00:29,920
talk about the ideas behind the video. The director didn't

1186
01:00:29,960 --> 01:00:32,119
well it wasn't super familiar with him whatever, and he's like, Okay,

1187
01:00:32,119 --> 01:00:34,599
who's the leader, And Peter Stair's like, well, I'm I'm

1188
01:00:34,639 --> 01:00:35,159
the lead.

1189
01:00:35,000 --> 01:00:38,360
Speaker 1: Singer, right, and the guy the video director, I mean,

1190
01:00:38,360 --> 01:00:43,360
this is a reasonable question. He's like, I can't. I

1191
01:00:43,400 --> 01:00:46,199
can't put the camera on all seven of you for

1192
01:00:46,320 --> 01:00:49,119
this whole video. That just doesn't make any sense. And

1193
01:00:49,519 --> 01:00:53,039
because Satara is the lead singer, it makes sense that

1194
01:00:53,119 --> 01:00:57,440
the video would be more on him. Then, shortly after

1195
01:00:57,639 --> 01:01:03,719
that success, the obvious partnership between David Foster and Peter

1196
01:01:03,800 --> 01:01:09,840
Sittera and the continuous reduction in horn parts for the songs,

1197
01:01:10,039 --> 01:01:12,840
Peter Stera then says, guys, I feel like I should

1198
01:01:12,840 --> 01:01:17,559
be making more money than you. Yeah, And they're like, huh, okay,

1199
01:01:18,440 --> 01:01:21,199
this is a turn, and maybe he's right, maybe he

1200
01:01:21,360 --> 01:01:25,599
was right, but he rode the tales of their success

1201
01:01:25,800 --> 01:01:28,360
up until nineteen seventy six, so then.

1202
01:01:28,280 --> 01:01:30,159
Speaker 4: He carried them through the eighties.

1203
01:01:30,599 --> 01:01:34,239
Speaker 1: Well, he didn't like the whole band failed for a while.

1204
01:01:34,960 --> 01:01:37,400
He was a part of their resurrection. There's no question

1205
01:01:37,440 --> 01:01:40,239
about that. But I mean, I don't know. It's the

1206
01:01:40,239 --> 01:01:43,440
writing was on the wall that this was, this relationship

1207
01:01:43,519 --> 01:01:44,199
was about to end.

1208
01:01:44,480 --> 01:01:47,840
Speaker 4: I saw that he wanted to do a solo album

1209
01:01:48,079 --> 01:01:51,800
and kind of bounce back and forth, similar to what

1210
01:01:51,840 --> 01:01:55,360
Phil Collins had done with Genesis. Well, I look over there,

1211
01:01:55,480 --> 01:01:58,559
Genesis is fine. Phil Collins puts out a solo album,

1212
01:01:58,559 --> 01:02:00,639
He goes back to Genesis and it's all cool.

1213
01:02:01,000 --> 01:02:02,559
Speaker 1: Right, It was not cool in Chicago.

1214
01:02:03,079 --> 01:02:06,840
Speaker 4: So they actually send him a letter is like ultimatum,

1215
01:02:07,000 --> 01:02:10,280
you're doing this or else. And so it was kind

1216
01:02:10,320 --> 01:02:12,280
of a did he quit did he get fired?

1217
01:02:12,440 --> 01:02:13,079
Speaker 1: It's kind of both.

1218
01:02:13,519 --> 01:02:15,960
Speaker 4: They gave him an ultimatum and he didn't accept it.

1219
01:02:16,079 --> 01:02:20,519
Speaker 1: And so what we get is the most successful album

1220
01:02:20,639 --> 01:02:25,119
of the band, followed by the departure of the singer

1221
01:02:25,400 --> 01:02:28,599
who made it that most successful album of the band.

1222
01:02:29,599 --> 01:02:32,639
So this is the last album that Chicago has with

1223
01:02:32,679 --> 01:02:37,039
Peter stra on it. And next week we're going to

1224
01:02:37,119 --> 01:02:41,880
be talking about Vital Signs, where Survivor now has a

1225
01:02:41,920 --> 01:02:46,079
brand new lead singer because they just lost their original singer,

1226
01:02:46,760 --> 01:02:50,800
So one last album with the singer and one first

1227
01:02:50,840 --> 01:02:53,159
album with the singer to compare it to R And

1228
01:02:53,239 --> 01:02:56,320
on that note, you know, once Peter Satara is gone,

1229
01:02:56,400 --> 01:03:00,119
they have to find a replacement for and the guy

1230
01:03:00,159 --> 01:03:02,679
that they have come is a guy named Jason Neff.

1231
01:03:02,880 --> 01:03:06,320
Has a great high pitched voice, plays the bass. Seems

1232
01:03:06,360 --> 01:03:08,639
like a great fit. As I mentioned before one of

1233
01:03:08,679 --> 01:03:12,360
our old Top Five episodes, Richard Page of Mister Mister

1234
01:03:12,559 --> 01:03:15,480
was on the list of possible people. But basically they

1235
01:03:15,480 --> 01:03:17,199
got it down to two people. And so they call

1236
01:03:17,320 --> 01:03:20,119
Jason neph and they're like, hey, twenty three year old

1237
01:03:20,239 --> 01:03:23,079
Jason Neff, who's not had any kind of success as

1238
01:03:23,079 --> 01:03:26,559
a musician at all other than small gigs. Right, it's

1239
01:03:26,599 --> 01:03:28,880
between you and one other guy. And he's like, awesome,

1240
01:03:28,960 --> 01:03:33,280
who's the other guy. It's Mickey Thomas of Starship. Okay,

1241
01:03:33,320 --> 01:03:37,440
so I'm not the guy there, right. He's like, listen,

1242
01:03:37,559 --> 01:03:40,760
you're not coming with any baggage, right, you didn't. You

1243
01:03:40,880 --> 01:03:43,239
haven't had a music career where you've got all these

1244
01:03:43,239 --> 01:03:45,239
other issues that have come up, and you have ways

1245
01:03:45,280 --> 01:03:49,039
of doing things. They like you, they want you, and

1246
01:03:49,559 --> 01:04:06,360
what they get is Jason Neff who then Chicago eighteen

1247
01:04:09,119 --> 01:04:13,920
another Penny dropper without Peter Sata. I guess they made

1248
01:04:13,920 --> 01:04:14,239
it work.

1249
01:04:14,440 --> 01:04:17,559
Speaker 4: David Foster went with Peter Sata to his solo album,

1250
01:04:17,559 --> 01:04:20,320
which seems like Peter kind of got him in the divorce.

1251
01:04:20,639 --> 01:04:20,840
Speaker 1: Yeah.

1252
01:04:21,119 --> 01:04:23,880
Speaker 4: Then he bounces back to Chicago's like, hey, let's write

1253
01:04:23,880 --> 01:04:24,480
some more hit.

1254
01:04:24,400 --> 01:04:26,960
Speaker 1: Songs with this new guy. And they did, and they did,

1255
01:04:27,119 --> 01:04:28,639
and they did. Yeah. Yeah.

1256
01:04:28,679 --> 01:04:33,360
Speaker 4: In fact, Chicago eighteen and nineteen are great albums, full

1257
01:04:33,480 --> 01:04:34,320
of great songs.

1258
01:04:34,440 --> 01:04:34,760
Speaker 1: Yeah.

1259
01:04:34,800 --> 01:04:37,199
Speaker 4: So some of the guys thought that Peter Sata was

1260
01:04:37,239 --> 01:04:38,360
a Prima Donna.

1261
01:04:38,679 --> 01:04:39,079
Speaker 1: Uh huh.

1262
01:04:39,239 --> 01:04:52,440
Speaker 8: Next song in the album is called Prima Donna.

1263
01:04:53,840 --> 01:04:56,239
Speaker 1: So this is by Peter Satira sa. I don't think

1264
01:04:56,239 --> 01:05:00,880
he was writing about himself, right. Also with Bark Goldenberg,

1265
01:05:00,920 --> 01:05:03,199
who were the guys who brought us along? Comes a

1266
01:05:03,239 --> 01:05:06,280
Woman and this is a song that could have been

1267
01:05:06,280 --> 01:05:07,880
a single, could have been a single.

1268
01:05:08,159 --> 01:05:11,480
Speaker 4: Could you see the song in Secret of My Success.

1269
01:05:11,639 --> 01:05:13,840
Speaker 1: Any number of eighties movies at the time. I'm sure

1270
01:05:14,000 --> 01:05:16,119
you see a video on MTV for it. I mean

1271
01:05:16,320 --> 01:05:18,559
it has all the markings. I don't know why they

1272
01:05:18,559 --> 01:05:20,639
didn't release it. It's fun, it is, It's a great

1273
01:05:20,679 --> 01:05:26,480
little song. Great another great example of the killer songs

1274
01:05:26,519 --> 01:05:27,079
on this album.

1275
01:05:27,199 --> 01:05:28,840
Speaker 4: Last song on the album is a song called Once

1276
01:05:28,880 --> 01:05:29,679
in a Lifetime.

1277
01:05:45,679 --> 01:05:48,360
Speaker 1: This is another great song, man. I mean, I don't

1278
01:05:48,360 --> 01:05:50,280
know what to say on this other than I guess

1279
01:05:50,280 --> 01:05:53,239
when you have an album full of great songs, you

1280
01:05:53,440 --> 01:05:56,480
have to kill some babies. But this is again. Had

1281
01:05:56,559 --> 01:05:58,360
I heard this on the radio over and over like

1282
01:05:58,400 --> 01:06:01,159
I did in the mid eighties with Along Comes a

1283
01:06:01,159 --> 01:06:03,159
Woman and some of these other songs. I don't know

1284
01:06:03,199 --> 01:06:05,559
that it's gonna be a top ten song, but it's

1285
01:06:05,559 --> 01:06:07,519
a top forty hit. Yeah.

1286
01:06:08,440 --> 01:06:11,199
Speaker 4: You get David Foster, you get Peter sa Terra's voice, you.

1287
01:06:11,159 --> 01:06:13,559
Speaker 1: Get this written by James Pankow, who had only written

1288
01:06:13,719 --> 01:06:15,760
one other co written one other song on this one,

1289
01:06:15,840 --> 01:06:17,559
which was not that great. But I don't know how

1290
01:06:17,599 --> 01:06:18,559
this one didn't make it. Well.

1291
01:06:18,559 --> 01:06:20,280
Speaker 4: I agree with you. This song could have easily been

1292
01:06:20,320 --> 01:06:22,800
a hit. But I'll tell you what was an unmistakable

1293
01:06:22,880 --> 01:06:25,840
hit was the first song that Peter Sitera released as

1294
01:06:25,840 --> 01:06:28,960
a solo artist in the summer of nineteen eighty six, Okay,

1295
01:06:29,440 --> 01:06:32,320
for the movie Karate Kid Part two, Right, That songs

1296
01:06:32,360 --> 01:06:33,719
called the Glory of Love.

1297
01:06:35,400 --> 01:06:37,000
Speaker 3: I could never make it.

1298
01:07:01,559 --> 01:07:03,360
Speaker 1: Okay. I feel like at this point you're looking for

1299
01:07:03,400 --> 01:07:05,760
any excuse to throw in more magical songs.

1300
01:07:06,960 --> 01:07:12,400
Speaker 4: Packing this full of magic. Do you know what movie

1301
01:07:12,440 --> 01:07:13,480
this song was written for?

1302
01:07:13,599 --> 01:07:14,800
Speaker 1: It wasn't written for Karate Kid.

1303
01:07:14,960 --> 01:07:16,639
Speaker 4: It was not written for Karate Kid too.

1304
01:07:16,679 --> 01:07:20,280
Speaker 1: I'm gonna go out on a limb here. Is Is

1305
01:07:20,320 --> 01:07:22,760
it a movie that's kind of related to the Karate Kid? Yes?

1306
01:07:23,320 --> 01:07:26,599
Is it a rocky movie? It is? Is it Rocky four?

1307
01:07:26,760 --> 01:07:31,679
Speaker 4: It is Sylvester Stallone listen to this song? Said nay,

1308
01:07:33,000 --> 01:07:34,800
it may be a little soft for a rocky I

1309
01:07:34,840 --> 01:07:36,679
think it is soft for rocky. Yeah, I think it

1310
01:07:36,760 --> 01:07:38,199
is more appropriate for Danielson.

1311
01:07:38,360 --> 01:07:40,800
Speaker 1: I think James James Brown was a better choice than

1312
01:07:40,840 --> 01:07:44,519
Peter Satara for Rocky. Peter Satra good for you know,

1313
01:07:44,639 --> 01:07:50,519
the young early twenties love Affair in Japan. Yeah, that's great.

1314
01:07:51,039 --> 01:07:53,639
Speaker 4: The song that got in instead of Glory of Love

1315
01:07:53,719 --> 01:07:57,679
to the Rocky four soundtrack, Heart's on Fire by John Parr.

1316
01:07:58,320 --> 01:08:01,320
Speaker 1: There you go, it all comes full struggle. Yeah, John

1317
01:08:01,400 --> 01:08:04,880
Parr with the David Foster. It's great, great connection. There

1318
01:08:04,880 --> 01:08:08,400
you go. Okay, So that does it for Chicago seventeen.

1319
01:08:08,719 --> 01:08:14,000
Incredible album. I incredible. I can't figure out how another

1320
01:08:14,039 --> 01:08:17,520
album is going to compete with this, But you haven't

1321
01:08:17,560 --> 01:08:18,640
heard Vital Signs yet.

1322
01:08:18,880 --> 01:08:21,279
Speaker 4: Vital Signs has got some bangers.

1323
01:08:20,800 --> 01:08:23,720
Speaker 1: On absolute bangers. This is I just got to say,

1324
01:08:23,760 --> 01:08:25,720
this is not gonna be an easy choice for me.

1325
01:08:26,560 --> 01:08:30,560
I'm gonna go dive deep into Survivor. I'm going to

1326
01:08:30,920 --> 01:08:34,640
enjoy the amazing thing that is the Vital Signs and

1327
01:08:35,000 --> 01:08:36,880
they're going to come back and Jason and I are

1328
01:08:36,880 --> 01:08:39,319
going to tell you what we think the better of

1329
01:08:39,319 --> 01:08:41,600
those two albums are. So don't forget to hit that

1330
01:08:41,640 --> 01:08:44,720
subscribe button, that follow button. You can catch that episode

1331
01:08:44,960 --> 01:08:45,439
next week.

1332
01:08:45,640 --> 01:08:46,920
Speaker 4: See you guys back here next week.

1333
01:08:47,000 --> 01:08:58,199
Speaker 5: Thanks guys. So I better go get the manager.

1334
01:09:04,000 --> 01:09:06,199
Speaker 1: Oh my gosh, that is crazy. That could be an

1335
01:09:06,199 --> 01:09:06,600
out take.