According to Billboard chart statistics, Chicago is second only to the Beach Boys as the most successful American rock band of all time, in terms of both albums and singles. Judged by album sales, as certified by the R.I.A.A., the band does not rank quite so high, but it is still among the Top Ten best-selling U.S. groups ever. If such statements of fact surprise, that's because Chicago has been singularly underrated since the beginning of its long career, both because of its musical ambitions (to the musicians, rock is only one of several styles of music to be used and blended, along with classical, jazz, R&B, and pop) and because of its refusal to emphasize celebrity over the music. The result has been that fundamentalist rock critics have consistently failed to appreciate its music and that its media profile has always been low. At the same time, however, Chicago has succeeded in the ways it intended to. From the beginning of its emergence as a national act, it has been able to fill arenas with satisfied fans. And beyond the impressive sales and chart statistics, its music has endured, played constantly on the radio and instantly familiar to tens of millions. When, in 2002, Chicago's biggest hits were assembled together on the two-disc set The Very Best of Chicago: Only the Beginning and the album debuted in the Top 50, giving the band the distinction of having had chart albums in five consecutive decades, the music industry and some music journalists may have been startled. But the fans who had been supporting Chicago for over 30 years were not.
________________________________________
When I'm with you, it doesn't matter where we are, or what we're doing
I'm with you, that's all that matters
Time passes much too quickly when we're together laughing
I wish I could sing it to you, oh no
I wish I could sing it to you
Oh whoa whoa whoa whoa whoa, oh-oh-oh-oh-oh-oh-oh-oh
Oh whoa whoa whoa whoa whoa, oh-oh-oh-oh-oh-oh-oh-oh
Mostly I'm silent, mm-hm-hm-hm...Silent, la la la la la
Never think of the right words to say
When I kiss you, I feel a thousand different feelings
The color of chills all over my body, hey, hey, hey
And when I feel them, I quickly try to decide which one
I should try to put into words, oh no, try to put into words
Oh whoa whoa whoa whoa whoa, oh-oh-oh-oh-oh-oh-oh-oh
Oh whoa whoa whoa whoa whoa, oh-oh-oh-oh-oh-oh-oh-oh
Mostly I'm silent...Silent...La la la la la la la la la la la la la la la la...Silent...
Only the beginning of what I want to feel forever
Yeah, oh, oh, whoa
Yes, only the beginning of what I want to feel forever
Only the beginning, only just the start, yeah
I've got to get you into my life mama, I've got to get you next to me
Only the beginning, only just the start
Yeah yeah yeah yeah yeah yeah yeah...Mmm-hmmm...
Only the beginning...Only the beginning...
Only the beginning...Only the beginning...
Only the beginning...Only the beginning...
Only the beginning...Only the beginning...
Only the beginning...Only the beginning...
Only the beginning...Only the beginning...
Only the beginning...Only the beginning...
Only the beginning...Only the beginning...
Only the beginning...Only the beginning...[fade]
The one thing that I can say stands out for me in Chicago's EARLY work (before 1982 or so) is that I love how the horns are integrated into a countermelody for a number of songs.
The Trumpet/Alto Sax duet in this one.
The total breakdown of the 3 horns (most especially the Trombone playing differently than the other parts) all over the place during "West Virginia Fantasies" (from the 2nd album), the horn section interlude on " Long Time No See", and "All Is Well Again"...
nudist0885 3 months ago 17
@nudist0885 Very well said! I gotta tell ya, I'm 50 years old and to this very day, when the horns come in from 00:22 to 00:44, I still get chills! Being a teenager in the 70's was awesome because we had the best of Chicago's work back then!
MoosicandCritters 2 months ago 13