Chicago Bound

My wife made a statement that got me thinking. As many of you who read my posts know, lots of things get me thinking. I'm a thinking kind of guy. Anyway, she said that Chicago really is an amazing band. This is a band whose sound is primarily brass, yet over the years they have been able to consistently produce hits and make the pop and rock charts right alongside bands like Journey, Styx, REO Speedwagon, etc. That doesn't seem like a big deal on the surface, but when you really think about it, keeping a brass-heavy band on the pop and rock charts is quite a feat. Not so much the pop charts, maybe, but the rock charts for sure.

And Chicago have been labeled everything from progressive rock to pop to soft rock. Chicago themselves have proclaimed they are a rock and roll band with horns.

The band was formed in 1967 in (where else?) Chicago, Illinois. They wrote and performed politically inclined tunes and incorporated a progressive rock feel that later leaned on soft rock elements and lyrics that might be considered more widely accessible.

The original band (Chicago Transit Authority) consisted of keyboardist/vocalist Robert Lamm, James Pankow on trombone,Walter Parazaider on saxaphone, Lee Loughnane on trumpet, Terry Kath on guitar, and Danny Seraphine on drums. Peter Cetera joined the band as a vocalist/bassist shortly after its formation. Many members have come and gone since the beginning. Of the original lineup, Robert, James, Walter, and Lee are still with the band.

The first album, released in 1969 and entitled The Chicago Transit Authority, produced two big hits, Does Anybody Really Know What Time It Is? and Questions 67 and 68.

Due to legal issues with the mass transport Chicago Transit Authority, the band changed its name to Chicago and released its second album, simply entitled Chicago, in 1970. Make Me Smile, Colour My World, and 25 or 6 to 4 all became hits.

More albums followed, along with additional hits that included Saturday in the Park, Just You 'n' Me, Wishing You Were Here, Old Days, If You Leave Me Now, and Baby What a Big Surprise. In '78, guitarist Terry Kath died of an accidental gunshot wound (self inflicted) and the band nearly called it quits.

Instead, they released the album Hot Streets (the first without a numbered title since their third album). Hot Streets proved a big success with the hits Alive Again, No-Tell Lover, and Gone Long Gone. This particular album is one of my favorites.

The next couple albums failed to grab much attention, but Chicago 16, released in 1982, produced three huge hits, Hard to say I'm Sorry, Love Me tomorrow, and What You're Missing. Next came Chicago 17 with Hard Habit to Break, Stay the Night, You're the Inspiration, and Along Comes a Woman. By the time of  Chicago 18 Peter Cetera had left the band. Chicago 18 featured If She Would Have Been Faithful, Will You Still Love Me?, and a re-recording of 25 0r 6 to 4.

Chicago 19 blew the charts out of the water. It's my favorite Chicago album. Soft rock and pop to the core, as far away from the original Chicago sound as you can get, but an exercise in writing hooks. The big hits from the album are What Kind of Man Would I Be?, I Don't Wanna Live Without Your Love, Look Away, You're Not Alone, and We Can Last Forever. Those songs aside, the rest of the songs on the album have all the ingredients necessary for a hit as well.

Founding member Danny Seraphine (drums) departed from the band in 1990. Chicago's popularity diminished somewhat after the 80s, but the band has continued to make albums, the latest being 2008's Stone of Sisyphus, which is a "lost" Chicago album, and 2011's O Christmas Tree, a collection of classic Christmas songs and a new original tune.

Whether you prefer their progressive rock sounds, their lush brass arrangements with pop undertones, or their full-on soft rock/adult contemporary sound, Chicago has carved its niche in the musical world.

Get the Notion -- Full Featured Composition Software for the iPad, Mac, and Computer

Notion Music, Inc has created what I believe is destined to be one of the most defining songwriting products available for Mac, PC, and iPad. Notion is a full-featured song composition tool that offers everything previously only available in products like Finale and Sibelius. The really cool thing, though, is not only does Notion offer these capabilities on Mac and PC, it brings the same full features to the iPad -- something even Finale and Sibelius have not been able to do.

With Notion (whether you use it on Mac, PC, or iPad), you can compose, arrange, and playback your music using real sampled instrument. Note input (which can be accomplished by clicking on the staves or using interactive tools like the keyboard, fretboard, drum pads, or chord library) is easy. There's also a range of articulations and tools that allow you to fine tune your scores exactly the way you want. You can add or remove instruments, add lyrics, make notes -- there's nothing left to chance here.

I use Notion on my iPad. Here are some of the features the app and the computer software offer:

• Enter, edit, and playback notation, tab, or both
• Orchestral samples by the London Symphony Orchestra recorded at Abbey Road Studios.
• Piano, keyboards, electric guitar, acoustic guitar, electric bass
• Clean and intuitive user interface
• Interactive piano keyboard for fast entry
• Export/Email audio
• Real-time/step-time MIDI entry
• Retina Display
• Audition/Entry Modes
• Interactive 24-fret guitar fretboard
• All instruments and functions from Progression are in Notion
• Interactive drum pad
• Quick and simple selection palette
• Distortion and reverb effects
• Full audio mixer
• Full range of orchestral functions and articulations including: Staccato, Flutter tongues, Trills, Vibrato, and much more…
• Full range of guitar functions and articulations including: bends, vibrato, slides, hammer on, pull off, mutes, whammy bar techniques, bass slap, harmonics, and more…
• Drag and drop cursor option
• Switch Instruments
• Transposition
• Insert text
• Lyrics
• Chord symbols and diagrams
• Quick “Undo” and “Redo” functions
• Chord and melody modes
• Easy delete and erase capabilities
• Enter and edit title and composer information
• Convenient file sharing
• Import .notion, MIDI, MusicXML, GuitarPro 3-5 files
• Email .notion, PDF, MusicXML, or MIDI files
• Import from Dropbox
• Search for tabs, MIDI, or MusicXML online from within the app
• In-Store app to add more instruments and gear
• Help Files

Notice you can purchase additional instrument sounds. Don't let this scare you away. There's no need to purchase extra instrument samples unless you want some of the more obscure instruments or you are composing huge orchestral pieces. For most users, Notion comes with all the instruments you'll ever need.

Not only can you compose and playback with Notion, you can record your song, mix it down, and export it in PDF, MDI, or MusicXML files. There's a range of import features as well, allowing you to bring in scores you're working on elsewhere.

If you're a songwriter or arranger, this is truly the only app you will need on your iPad or the only software you will need on your Mac or PC. Best of all, if you want the power of this app on your iPad, it's only $14.99 in the iTunes app store. You can't beat that.

NOTE: Notion Music, Inc. also makes Progression, which is tab songwriting software for guitar, bass, and drums. Progression can be purchased as stand-alone software or app, but it's included in Notion.

Songwriting and Recording at Home

The cool thing about being a songwriter today is the ability to record studio-quality songs in the comfort of your own home. Musicians are turning their computers (and even tablets) into full-fledged recording studios to create music that used to cost a fortune to make in professional studio settings. There are a number of ways this can be done, depending upon your budget and the level of quality you want to achieve.

I record some great stuff with my iPad, an iRig, and a couple of different recording apps. The process for me is pretty straightforward. I begin by writing my songs using either Songwriter HD or Notion (which allows me to notate music like Finale or Sibelius does on the computer), then I start laying down my tracks. The order depends. I might lay down a guitar part first, then the vocal. I'll mix those and then start adding the other parts, either by plugging into my iRig and playing or by using virtual instruments.

I like to keep my workflow as streamlined as possible. The least amount of software and hardware I can use to accomplish the task at hand. It's taken me a couple of years and a little money (my wife will tell you otherwise on the money part) to find the software, apps, and hardware that work best for my specific needs.

I'll be doing a series of posts in the upcoming weeks to discuss and review in detail some of the various music software, apps, and hardware I use for writing and recording. Hopefully my posts will help those of you who are struggling to find what you need to accomplish your own goals, and maybe my experiences can save you a little time and money in the process.

Some of the reviews I have planned are Finale, Finale Songwriter, Songwriter HD, Sony Acid Music Studio, Pro Tools, Notion, MusicStudio, the various iRig packages, and loop packages. Keep an eye out.

John Fogerty Wrote a Song for Everyone

I dig John Fogerty. Whether he's writing and performing with Creedence Clearwater Revival or as a solo act, the guy puts out some fine material. In fact, he wrote a song for everyone, as evidenced by his latest release, Wrote a Song for Everyone.

John's hottest classics (and a couple new ones too) are recorded by some of the biggest names in music on Wrote a Song for Everyone, putting a new spin on the tunes and breathing new life into something that was never dead to begin with. John performs on the songs as well, creating a unique collaborative effort that is truly a masterpiece for fans of John's music.

Some of the stand out tracks for me are Who'll Stop the Rain featuring Bob Seger, Fortunate Son featuring the Foo Fighters (Bob Seger Previously covered this one), Have You Ever Seen the Rain featuring Alan Jackson, Born on the Bayou featuring Kid Rock, and Lodi featuring John's sons Shane and Tyler.

The whole CD is a good one, full of great songs, outstanding performances, and the foot-stomping swamp- boogie ear candy John Fogerty has always brought to the table.

Songwriting and Screenwriting

My oldest son and I watched a couple good movies tonight. That got me thinking (because lots of things get me thinking). I've written quite a few songs. I've also written a few screenplays. I've written novels and short stories too, but screenwriting has always been more rewarding and interesting to me.

I like writing songs best of all, though, which led me to the realization that I've always liked screenwriting so much because writing movies is very much like writing a song. First, both are highly structured forms of writing that offer a limited space with which to express an idea. Second, both of these creative endeavors begin life in written form but don't truly reach fruition until they are finalized. In the case of a song, it only becomes complete when it's been recorded. A screenplay only becomes complete when it's been filmed.

I mentioned structure. Songs deal in verses, choruses, and bridges. Screenplays deal in beats, scenes, and acts. There's more to each, of course, but you get the picture. This can sound a bit stifling to someone just getting involved in either of these artistic endeavors, but it really isn't. Within the structure of each of these forms is a wide open world (I know that sounds contradictory) within which you can express yourself.

Both forms of artistic expression can be extremely rewarding, particularly when you create something that touches an audience in any way, on any level.

I don't do much screenwriting these days. My time is spent writing songs. I find songwriting more rewarding and more expressive for me, for the way I want to reach people.

That said, I still enjoy a good movie, and there's always one floating around in my head. When it can no longer be contained, I have no choice but to write it.

Hair of the Dog and Beyond

I think it's time I write up a little something on a band I think deserves to be revisited. You know them for the songs Hair of the Dog, Love Hurts, and maybe Holiday if you really paid attention, but how much do you know about them beyond those hits?

Probably not a lot, and that's too bad.

Nazareth is a loud, heavy, kick ass rock 'n' roll band. The original line-up consisted of Dan McCafferty on vocals (his swaggering voice a staple of the Nazareth sound), Manny Charlton on guitar, Pete Agnew on bass, and Darrell Sweet on drums.

Nazareth is a Scottish band that formed in 1968. The big time came for them with the release of the Hair of the Dog album in 1975, which featured the title track and created one of the most singable lyrical hooks in the history of rock, "now you're messin' with a son of a bitch." The song very quickly became a hard rock radio staple and remains popular today.

Hair of the Dog (the American release of the album) produced another big hit for the band, a song, believe it or not, originally recorded by the Everly Brothers. That song was a ballad entitled Love Hurts, which became Nazareth's only top ten hit.

Malice in Wonderland was released in 1980 and produced the cool single Holiday.

The hits aside, Nazareth has released some killer albums that stand on their own, hot and heavy without a hit. Razamanaz, released in 1973, with Bad, Bad, Boy and Broken Down Angel remains a heavy classic. Play 'n' the Game is another in-your-face rock fest, with killer cuts like Somebody to Roll, Born to Love, and L.A. Girls, and Down Home Girls.

To be honest, I love any Nazareth album I put on. There doesn't need to be a hit single. This is legendary hard rock at its finest. The good news is, almost every Nazareth album has been re-issued with tons of extra stuff, including alternate versions, previously unreleased tracks, and live material.

If you aren't familiar with Nazareth and love your rock loud and proud, I suggest you grab a CD or two and get your Hair of the Dog on.

Classic Vinyl Re-Issue on CD -- Portrait of the Artist as a Young Ram

Ram Jam had a huge hit with the song Black Betty in the late 70s. Their self-titled debut album, Ram Jam, also included a few other gems. The follow-up album, Portrait of the Artist as a Young Ram, however, failed to make any kind of forward motion for the band, primarily because there were a lot of behind the scenes issues going on that threatened to dissolve the band. They were dubbed one-hit wonders and relegated to the bargain bin.

Too bad, though, because Portrait of the Artist as a Young Ram was really a good album, and a worthy follow-up to the debut. The album quickly disappeared and has been a must-have for collectors ever since. While the tracks on Portrait of the Artist as a Young Ram have been available on a CD entitled The Very Best of Ram Jam for many years (the CD included both Ram Jam albums in their entirety), it was re-issued in the UK in 2006 in its original running order and with original artwork.

Good news for die-hard fans.

The album is full of electrifying 70s rock, much of which has a distinctly Aerosmith feel to it. In fact, a couple of the songs could have been Aerosmith songs, particularly Pretty Poison, and The Kid Next Door. Other tracks that stand out on this album are Gone Wild and Saturday Night.

The album isn't as good as the debut album by any means, at least as far as I'm concerned, but it is pretty good, and for those who have searched high and low for Portrait of the Artist as a Young Ram for decades, it's now available on compact disc for your listening pleasure.

Salute the Ric -- Rickenbacker Bass Guitars

The first bass I ever got was a Fender Jazz bass. My mom got it for me for Christmas one year. The second bass, which my mom also bought for me, was a blue and white Rickenbacker. It was a beautiful thing. I've been in love with the Rickenbacker bass guitars ever since.

Rickenbacker bass guitars have been played by many bass players, including Lemmy of Motorhead, Geddy Lee of Rush, Paul Goddard of The Atlanta Rhythm Section and Rick James. These are just some of the high profile players that played Rickenbacker almost exclusively. Other bassists who have played Rickenbacker include Phil Lynott from Thin Lizzy, Geezer Butler from Black Sabbath, Timothy B. Schmidt from the Eagles, Bill Wyman of the Rolling Stones, Glenn Hughes of Deep Purple, John Entwistle of The Who, Joey DeMaio of Manowar, and John Deacon of Queen. I could keep going, but you get the point.

Rickenbacker basses have a distinct sound. A little more on the treble side. The unique body shape feels great in the hands. Nice balance and they look really cool. When it comes to playing bass, I would choose a Rickenbacker over any other bass on the market, period.

Gibson Les Paul -- A Real Classic

The look, the feel, the sound. It doesn't get any better than the Gibson Les Paul. These guitars have fueled the sound of rock 'n' roll since Les Paul introduced them to the world in '52. Fender, of course, has its Stratocaster believers, and they are many, including some who also play the Les Paul. It's not always one or the other.

For me, though, no other guitar screams rock 'n' roll louder than the Gibson Les Paul. It's how the west was won, baby. Even a re-issue or a good Epiphone copy (when you can't afford the original classics) will do.

The rich tone and chunky feel of this bad boy in your hands can take you to another galaxy. The list of players who swear by these instruments is a who's who of the music world. The Les Paul is legendary. It's eye candy, ear candy, a wet dream for guitar players who want to hold the power in their hands. For me, many nights spent dreaming about the Les Paul before I actually played one, and when I got my hands on it, sheer nirvana.

What Makes a Great Greatest Hits Package?

Greatest hits packages are, for the most part, a way for bands to grab some extra money while they buy time to record a new album. It's easy money. The songs are already written and just need to be repackaged. Greatest hits albums aren't for the hardcore fans at all. They work well for casual listeners, new listeners, or those who simply want the popular songs by a band.

That isn't to say there aren't greatest hits packages that work well for hardcore fans. The smart bands and the record companies figured out a way to target those fans as well. The premise is simple. Include the hits, sure, but add something extra. Remastering tracks is how they started, but that wasn't good enough to bring in the hardcore fans. Next came previously unreleased live recordings, previously unreleased studio tracks, demos, and alternate takes of popular songs. That's when it really got good, at least for me.

Some people just aren't in to that sort of thing. My wife, for instance, likes the original song the way it was recorded, period, end of sentence. She doesn't want to hear another version of a song at all. Me, I love that stuff. All of it. Alternate lyrics, different music and tempos, demo tracks, all of it. Including that stuff is the way you get me to invest my money in a greatest hits package or a reissue of a previously released album.

I love Belinda Carlisle. I'll say that right now. She recently reissued four of her albums, Live Your Life Be Free, Heaven on Earth, Runaway Horses, and Real, as two-disc editions loaded with remixes, demos, and alternate takes. When it comes to different versions of a song, nobody does it better than Belinda. Seriously, I have never heard the same songs done so many different ways as some of Belinda's songs. When you buy her reissues, you don't just get one or two remixes. You get extended cuts and alternate mixes that sound completely different from the originals you're used to hearing. You get your money's worth.

I've already talked about the Thin Lizzy deluxe editions. The Atlanta Rhythm Section, after years of releasing greatest hits albums with the same songs in their original forms, are finally releasing From the Vaults, which will feature previously unreleased material. I'm excited about that one.

ZZ Tops Greatest Hits is cool. Not only does it have the essential hits, there are two new tracks, Viva Las Vegas and Gun Love, plus remixed versions of a couple of the tunes.

A classic greatest hits package for me is KISS's Double Platinum. The record company insisted the band put the album out because the public was so hungry for KISS material at the time. KISS wasn't really into the idea, but they did it anyway. I think it turned out to be an unrecognized gem. Sean Delaney did most of the work on it and many of the tracks are remixed and sound different from the original versions.

Forty Licks by the Rolling Stones is a great package because of all the songs it includes. In addition, there are four new tracks (Don't Stop is my favorite) and some remixed versions of previously recorded stuff.

I could go on and on. There are a lot of greatest hits packages I've bought for previously unreleased material, remixes, extended versions, or even because there were songs on the album that had previously only been available on a movie soundtrack or elsewhere. Case in point, Sammy Hagar's Essential Red Collection, which contains some of his soundtrack cuts, some demos, and some previously unreleased material.

Other cool greatest hits packages (for varying reasons) include Heart's Greatest Hits/Live and The Essential Heart, Smashes, Thrashes, and Hits by KISS, Little River Band's Re-Arranged, Rod Stewart's If We Fall in Love Tonight, Magic: the Very Best of Olivia Newton-John, The Original Bad Company Anthology, Loverboy's Rock 'N' Roll Revival, and Foreigner's The Very Best . . . and Beyond. There are lots more I could name, but I would be writing all night. Basically, if there's enough remixed or previously unavailable material on the album, I'll buy it.

One more trend I've seen lately is the re-recording of the hits, either by the original band, or the original band featuring new members. A good case in point here is Kiss Klassics, which came as a bonus disc in the Sonic Boom CD and featured fifteen kiss classics re-recorded by the 2008 line-up of KISS. While this is a questionable practice by some die-hard fans, I listen to these types of collections out of curiosity. For the most part, though, they are disappointing because they tend to be nothing more than exact duplicates of the original versions, and if that's all you intend to do when you record originals with a different line-up, what's the point?

That's my take on what makes a greatest hits package valuable to die-hard fans.

A Rock and Roll Alternative

Remember eight track tapes? I do. Not really the best medium for delivering music, but when I was a lot younger than I am now, I got to drive my mom's Trans-Am. It had an eight track player in it. There was also an eight track of a wonderful album called A Rock and Roll Alternative by a killer band, the Atlanta Rhythm Section. I popped that eight track in and turned it up. What I heard changed my life. From that moment on, I've been an Atlanta Rhythm Section fan. I have purchased everything of theirs I could on every medium (minus eight track) that it's been available on.

The Atlanta Rhythm Section, or ARS, as they are often called, rock.

They are billed as a southern rock band, which is accurate in the sense that the guys are southern and their music reflects that, but there is more going on with this band than what you expect from a typical southern rock outfit. The Atlanta Rhythm Section have a sound all their own. Smooth as honey and hard as nails at the same time. They've been at this since 1970. They've got it down.

The classic lineup for me featured Ronnie Hammond on vocals, Barry Baily and J.R. Cobb on guitars, Dean Daughtry on keyboards, Paul Goddard on bass, and Robert Nix (who passed away in 2012) on drums. This lineup played together right up to the end of '78, when Robert Nix left the band and Roy Yeager joined.

There have been several lineup changes through the years. Ronnie (who unfortunately passed away in 2011) was almost always a part of the lineup, with an occasional missing in action status. Paul Goddard, a super bass player, left after 1981's Quinella and completely disappeared from the public view as far as I could tell. I did many Internet searches on him and turned up nothing. The good news is, Paul is back in the band, along with the original singer (yes, there was a singer before Ronnie, for the first album).

There has been a lot of great music from this band over the years. Those who took up the banner after original members (and Dean Daughtry who is original and has always been on board) left did a superb job. I am sorry for those members lost, but grateful to see the current lineup.

Now, on with the original intent of this post, a spotlight on my favorite Atlanta Rhythm Section album, A Rock and roll Alternative.

The album came out in 1976. The track list is as follows:

1. "Sky High" (Buie, Daughtry, Hammond, Nix) – 5:17
2. "Hitch-Hikers' Hero" (Buie, Nix) – 3:38
3. "Don't Miss the Message" (Buie, Cobb, Nix) – 3:27
4. "Georgia Rhythm" (Buie, Cobb, Nix) – 4:52
5. "So In to You" (Buie, Daughtry, Nix) – 4:20
6. "Outside Woman Blues" (Blind Joe Reynolds) – 4:53
7. "Everybody Gotta Go" (Buie, Daughtry, Nix) – 4:10
8. "Neon Nites" (Buie, Nix) – 3:57

The opening track, Sky High, is an uptempo rocker that sets the tone. It's about the joys of music and what it means to play for the fans. One of my favorite songs on the record.

So Into You was, of course, a massive hit and had that slinky groove and a sort of sex appeal that drove the ladies wild. It is still classic rock radio material today.

Other favorite tracks for me, Everybody Gotta Go, Neon Nights, and my all-time favorite ARS track, the one that really puts the ribbon on the package and sums up the band, Georgia Rhythm.

If you've never heard this band, start with this album and then work your way backward and forward. If you like good music, you can't do better than the Atlanta Rhythm Section.