White Hot Stamper
Chicago Transit Authority
A truly killer pressing, with 11 out of a possible 12 pluses (!) - it's by far our favorite Chicago album in every way
All four sides earned our top Triple Plus (A+++) grade or close to it and are guaranteed to knock you out with their BIG, BOLD sound
Does Anybody Really Know What Time It Is?, I'm A Man and Questions 67 and 68 sound fantastic here
"In April of 1969, the four sides of Chicago Transit Authority unleashed a formidable and ultimately American musical experience... an unheralded synthesis of electric guitar wailin' rock & roll to more deeply rooted jazz influences and arrangements."
See all of our Chicago albums in stock
Sku # : chicachica1_1903_2
Sonic Grades and Vinyl Playgrades
Product DetailTrack ListingAMG ReviewThe Legendary 30th Street Studios
SONIC GRADE: (?)
Side three:
Side four:
VINYL PLAYGRADE:
Side one: Mint Minus Minus*
Side two: Mint Minus Minus
Side three: Mint Minus Minus
Side four: Mint Minus to Mint Minus Minus
*NOTE: There is a mark that plays eleven times very lightly at the end of track two and again four times at a moderate level at the start of track three.
It's difficult to find copies that do this big production music justice, but we got hold of a hot one here. If you're a fan (and we think you should be, of the early band at least) you won't believe how good this album can sound on the right pressing. All four sides here are rich and full, punchy and solid, with great energy and dynamics. This is a Truly Killer Copy from start to finish!
Huge Sound Can Be Yours!
We love this album here at Better Records. It's amazing that this hard-rockin' band from 1968 could be the same band that gave us "You're The Inspiration" and other power-schlock ballads in the '80s. Have they no shame?
Fortunately this isn't your Mom's Chicago. Here, with their freshman effort, the band stands on the threshold of becoming True Rock Legends. Even today the album still sounds fresh. Who can argue with the brilliance of tracks such as Beginnings, I'm a Man and Questions 67 and 68? This is as good as the band ever got, man! It's all here.
All four sides boast some of the boldest arrangements for a horn-based rock band ever. These boys have no problem standing toe to toe with the likes of Blood Sweat And Tears. If you don't find yourself turning the stereo up during 'Beginnings', this music is not for you. The energy they bring to their cover of Spencer Davis' 'I'm A Man' positively puts the original to shame. They jam its rock and roll groove, then take it places nobody else would even think to go.
Kath's Guitar Wizardry
The late Terry Kath was a Master of the Guitar, way ahead of his time in both songwriting and technique. In a VH1 interview with founding member and horn player Walter Parazaider, the world discovered that none other than Jimi Hendrix was a huge fan of Kath's. This should come as no surprise to anyone who has heard Kath's solos on 'I'm A Man'.
The meaty tone and nuanced texture of his sound is evident all over this album. It's also a precursor to so many other players that followed him in the four decades since his debut, many of whom would be nowhere without his genius.
Peter Cetera and Big Bass (WTLF)
Not many musicians qualify to be placed on the list of Most Underrated, but if there were any justice in this world Peter Cetera's name would be found right up at the top. His bass playing alone -- forget his singing, which is as good as any pop singer of his generation -- qualifies him for Most Talented (but for some reason) Most Overlooked Musician. The huge bass sound Peter got out of his axe is the meat and potatoes of this album.
Talk about beefy bass; this album is the poster boy for rock solid bottom end. When you have a copy of this album with a hot side three, you have a Rock Bass Demo Disc LP par excellence.
Again, it's hard to believe this is the same guy that sang and played on 'Hard To Say I'm Sorry'. His jazz-rock chops anchor the rhythm section with the kind of energy a band with as many pieces as this one simply cannot do without. Chicago boasts seven top players, but Cetera's brilliance cuts through on practically every song. People may not be able to appreciate his playing because they have bad records or bad stereos, but we're here to rectify that situation, as least the record part of it.
So Many Faults, So Little Time
The average copy of this album is an unmitigated DISASTER. The smeary brass alone is enough to drive anyone from the room. To a list of its faults you can confidently add some or all of the following: 1) blobby, blurry, out of control bass; 2) opaque veiled mids; 3)rolled off highs, or no highs, whichever the case may be, common to virtually every pressing you find; 4) plain old distortion; and, last but not least, 5) the kind of compressed, lifeless sound that manages to make this groundbreaking album boring -- and that's not easy to do.
The music ROCKS! It's the crappy records Columbia pressed that suck.
Does Anybody Really Know What Time It Is?
A tough one right off the bat. If you have an aggressive sounding copy you'll know it pretty quick. Grit and grain in the vocal on this track will have you running for the nearest exit. Conversely, you still need presence without smear or the brass won't have the bite of the real thing, and a Chicago album without good brass is pretty pointless.
They really put their best foot forward with this cut -- a true sing-along anthem.
THE best Chicago song of all time! Pop music just does not get any better. The one-two punch of that amazing trombone solo followed by the equally amazing trumpet solo still knocks me out.
Part of what makes Chicago's brass so distinctive is the infrequent use of saxophone in the brass complement. The Chicago brass is darker and heavier than, say, that of Blood Sweat and Tears, and that Heavy Brass Sound was never better than on this, their first album.
Side Two
Questions 67 and 68
When the chorus comes in the bass had better be tight or the whole thing will turn to mud. The best copies have tons of energy and life on this song. Though not a hit, it still stands as one of the best tracks on the album and a real highpoint for early-period Chicago.
Side Three
Free Form Guitar
South California Purples
Not the typical audiophile's first choice in a Demonstration Quality track, but if you have the right kind of stereo (a big one, natch) and a top quality pressing (for side three anyway), watch out.
This track has the power to knock you right out of your socks. The bass part that Cetera opens the song with has an unbelievably solid tone. At the same time it's harmonically rich and has subterranean power that must be heard to be believed. Holy Smokes does it ever sound good!
Side Four
AMG Rave Review
Few debut albums can boast as consistently solid an effort as the self-titled Chicago Transit Authority (1969). Even fewer can claim to have enough material to fill out a double-disc affair. Although this long- player was ultimately the septet's first national exposure, the group was far from the proverbial "overnight sensation."... In April of 1969, the four sides of Chicago Transit Authority unleashed a formidable and ultimately American musical experience. This included an unheralded synthesis of electric guitar wailin' rock & roll to more deeply rooted jazz influences and arrangements. This approach economized the finest of what the band had to offer — actually two highly stylized units that coexisted with remarkable singularity.
CBS Studios
CBS 30th Street Studio, also known as Columbia 30th Street Studio, and nicknamed "The Church", was an American recording studio operated by Columbia Records from 1949 to 1981 located at 207 East 30th Street, between Second and Third Avenues in Manhattan, New York City.
It was considered by some in the music industry to be the best sounding room in its time and others consider it to have been the greatest recording studio in history. A large number of recordings were made there in all genres, including Miles Davis' Kind of Blue (1959), Leonard Bernstein's West Side Story (Original Broadway Cast recording, 1957), Percy Faith's Theme from A Summer Place (1960), and Pink Floyd's The Wall (1979).
Having been a church for many years, it had been abandoned and empty for sometime, and in 1949 it was transformed into a recording studio by Columbia Records.
"There was one big room, and no other place in which to record", wrote John Marks in an article in Stereophile magazine in 2002.
The recording studio had 100 foot high ceilings, a 100 foot floorspace for the recording area, and the control room was on the second floor being only 8 by 14 feet. Later, the control room was moved down to the ground floor.
"It was huge and the room sound was incredible," recalls Jim Reeves, a sound technician who had worked in it. "I was inspired," he continues "by the fact that, aside from the artistry, how clean the audio system was."
Musical artists
Many celebrated musical artists from all genres of music used the 30th Street Studio for some of their most famous recordings.
Bach: The Goldberg Variations, the 1955 debut album of the Canadian classical pianist Glenn Gould, was recorded in the 30th Street Studio. It was an interpretation of Johann Sebastian Bach's Goldberg Variations (BWV 988), the work launched Gould's career as a renowned international pianist, and became one of the most well-known piano recordings. On May 29, 1981, a second version of the Goldberg Variations by Glenn Gould was recorded in this studio, and would be the last production by the famous studio.
Jazz trumpeter Miles Davis recorded almost exclusively at the 30th Street Studio during his years under contract to Columbia, including his album Kind of Blue (1959). Other noteworthy jazz musicians having recorded in this place: Duke Ellington, Dizzy Gillespie, Thelonious Monk, Dave Brubeck.
In 1964, Bob Dylan and record producer Tom Wilson were experimenting with their own fusion of rock and folk music. The first unsuccessful test involved overdubbing a "Fats Domino early rock & roll thing" over Dylan's earlier, recording of "House of the Rising Sun", using non-electric instruments, according to Wilson. This took place in the Columbia 30th Street Studio in December 1964. It was quickly discarded, though Wilson would more famously use the same technique of overdubbing an electric backing track to an existing acoustic recording with Simon & Garfunkel's "The Sound of Silence".
Check out more of our Hot Stamper pressings made from recordings engineered at the legendary CBS 30th Street Studio