The Chicago Transit Authority
1969
1969
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Chicago - Does Anybody Really Know What Time It Is? 1969 2.160 vizite - 0 comentarii adaugat de piata |
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Chicago - Beginnings / 1969 1.496 vizite - 0 comentarii adaugat de piata |
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Chicago - Free Form Guitar / 1969 1.443 vizite - 0 comentarii adaugat de piata |
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Chicago (Terry Kath) - I'm A Man 1969 1.503 vizite - 0 comentarii adaugat de piata |
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Chicago - Poem 58 / 1969 2.104 vizite - 0 comentarii adaugat de piata |
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Chicago - South California Purples / 1969 1.539 vizite - 0 comentarii adaugat de piata |
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Chicago - Beginnings / 1969 1.581 vizite - 0 comentarii adaugat de cocor |
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Chicago - I´m a man / 1969 1.602 vizite - 0 comentarii adaugat de cocor |
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Chicago - Does Anybody Really / 1969 1.546 vizite - 0 comentarii adaugat de cocor |
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Chicago - Introduction / 1969 1.613 vizite - 0 comentarii adaugat de cocor |
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Chicago - Listen / 1969 1.330 vizite - 0 comentarii adaugat de cocor |
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Chicago - Questions 67 and 68 / 1969 1.404 vizite - 0 comentarii adaugat de cocor |
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Chicago - I'm A Man / 1969 1.653 vizite - 0 comentarii adaugat de cocor |
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Chicago - Poem 58 / 1969 1.433 vizite - 0 comentarii adaugat de cocor |
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Chicago - Free Form Guitar / 1969 1.404 vizite - 0 comentarii adaugat de cocor |
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Chicago - I'm a Man / 1969 1.756 vizite - 0 comentarii adaugat de cocor |
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Chicago - Someday / 1969 1.817 vizite - 0 comentarii adaugat de cocor |
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Chicago - Liberation / 1969 1.071 vizite - 0 comentarii adaugat de kafka |
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Chicago
-
The Chicago Transit Authority
1969 -
Chicago
1970 -
Chicago III
1971 -
Chicago V
1972 -
Chicago VI
1973 -
Chicago VII
1974 -
Chicago - Chicago VIII
1975 -
Chicago X
1976 -
Chicago XI
1977 -
Hot Streets
1978 -
Chicago 13
1979 -
Chicago XIV
1980 -
Chicago 17
1984
Chicago - Liberation / 1969
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din favoriteChicago - Liberation 1969
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.
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.
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