when we go out on the road next we should play every [ bleep ] hit we have. play every [ bleep ] hit and forget about trying to do the jazz stuff. he said, oh, man. you're a [ bleep ] hypocrite. hung it up. that's really where he was. he wanted to stretch out. >> move forward. >> that's where we started. that's who we were. ♪ >> when you get caught up in success and everything you're so preoccupied by the enormity of a career when it takes off like it did for us that you don't give enough thought to, well, what about the business of this? ♪ >> as far as the business, i kept an eye on the business a lot more. things were inequitable. the first thing that resonated with me is here i was in a

thousand square foot rental house in studio city and jimmy's on a 3,000 acre ranch. >> danny tried to tell us to look at the contracts. we need to do this. >> look at the contracts. we need to look at the contracts. >> relax. let them do that stuff. we'll do ours. >> got the band to listen and had the books audited. lo and behold, the difference in money was staggering. >> he was taking 100% of the publishing. >> millions of dollars had been going to the wrong place. millions of dollars. >> it wasn't like anything was being stolen because we signed the terrible contracts in the very beginning of our careers with jimmy. >> i understood why he developed the company that way. it was basically for everybody's

protection. but he was a little smarter than everybody else. >> jimmy knew things about the business that we didn't know. you would have thought he would hip us to that. but he didn't really. >> we took it to task and renegotiated. >> he had 51% by himself of our entire career and we had 49% split seven ways. so there's quite a diffence, especially after uncle sam comes in and grabs half. >> i think we had gone as far as we were going to go with him. i think the time was up with that relationship. we had to move on. >> when we left it was a very difficult transition. ♪

>> there was a lot of guys in the band. it was enough safety in numbers, if you will, in terms of being productive and having the ability to perform and record and write. ♪ ♪ got some education ♪ like we never got before >> how many groups did you see that just broke up after a couple hits? the strain is the price you pay. ♪ >> through the years we kept building stage sets. we came up with the street scene and we had a brilliant idea to put a phone booth on the stage. >> it was called the snortatorium.

>> once you went into the booth no one could see you from the audience you just disappeared. we had cocaine inside of it. we would go in, take a hit of cocaine. >> he would go in there and snort. ♪ >> it's completely insane. getting your heart going like a maserati coming around the curve. ♪ >> you just lay into it and hit the turn like, oh, i got it, and you could die, just like that. ♪ >> i was just coming home from a

lakers game. i got a phone call from our manager. >> he did one of those, are you sitting down things. he said, terry's dead. [ voice breaks ] obviously, it still hits me. per roll

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>> 25 days into the new year and the front line of the rock and roll ranks are depleted again. the lead singer of chicago, terry cath is dead. >> what? >> i didn't believe what i heard. >> i just -- i almost -- i got up and i almost fell to my

knees. the phone was ringing and i don't know why, but i t the word that he had passed away. that was one of the worst days of my life. >> it was at don johnson's house, our keyboard tech. he did drugs with terry, and he partied with terry a lot. >> he was cleaning his gun. this was a little automatic pistol. donny johnson kind of squawked at him about it's the middle of the night. you haven't slept. don't clean your guns. don't mess around with the guns. go to bed. terry said, hey, look, man. i know what i'm doing. apparently terry took the clip out of the gun, showed him there was nothing in the clip. but apparently there was still a round chambered. >> terry was just -- the gun went off. >> boom.

died instantly. it was really, really hard news. >> i didn't believe it. i believed it when i went to the wake and he was laid out in the casket. the thing that really hit me is when i touched his -- his shell. because that's what it is. that's what these are. it's a shell. when the humanity leaves, the soul leaves, it is a hollow body. >> this is the car we drive around in on this plain throughout this lifetime. this is not our essence. our soul, our spiritual self is

our essence. when this body dies, that leaves. ♪ >> we didn't do enough. we should have intervened. because that's what friends do. real friends do for one another. >> i think at the time we didn't know how to handle that. how do you tell somebody not to do something that you might be doing? >> i think i sort of lost my way in every aspect of my life. >> the thing about terry is the ferocious forcand drive of his playing is what informed this band. and when he was gone it changed forever.

♪ ♪ leave all your worries behind you, run away ♪ ♪ run for your life, never turn back ♪ ♪ run away ♪ run away >> looking back on it now it seems like really a small period of time, like a week or two weeks, if that long, that we came to the realization that terry's gone but he would want us to keep going. we're alive, still viable, we

love doing it. let's go. >> we decided that we were going to continue any way we could. people didn't want us to stop. they wanted to see what we had to offer musically. >> we spent more money on blow and mansions on the hot streets album than on recording. ♪ ♪ never forget those endless years ♪ >> we definitely had the big dip. it was a smack in the face that, hey, things aren't happening for you right now. ♪ >> black cats are bad luck. it's about a guy that's got really bad luck. the black cat, there is always a black cat. something bad is going to happen to this guy. you know, he's cursed. ♪ >> it's funny. looking back on jimi hendricks. he said, you know, all the

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in the '70s they sold over 60 million records with an unbroken string of hits like does anyone know what time it is, saturday in the park, does anybody know what time it is and if you leave me now. they are continuing that sex -- sex? they are continuing that success

-- i don't know. it's hard to know who to talk to. they are all stars of the band, right? [ applause ] >> mole hills never become mountains. it is a democratic organization. there is no front man. everyone has an equal say-so. >> peter cetera. >> bobby. >> danny on drums. >> chris on guitar. >> my first day of rehearsing with them i had to go down and hide in the poolhouse because nobody told donny he was out of the band. >> we had auditioned, unbeknownst to donny. donny was late for rehearsal. we finally got ahold of him. what? bull. what do you mean? two words, buddy. you're fired. ♪ you bought the shoes because you love them. they're not comfortable. next you have to find shoes that don't put blisters on your feet.

>> my playing rhythmically was a lot like terry's. >> chris had some of the inside guitar stuff. terry was a great rhythm guitar player outside of a great soloist and great singer. >> there was no leader in the band but in terms of the driving force. >> replacing terry kath was no easy task. >> there's no touching terry, i knew that. everybody else should know it. they would have to get used to somebody else's plan. ♪ ♪ thunder and lightning, did you know our love would end this way ♪ ♪ but that's okay, no time, no place, it's one more game ♪

>> i think the trend in music, taste and generational shift was occurring. in the culture anyway. andor a rock band to survive all of that to withstand all of those effects is nearly impossible. >> people make records and you expect to hear what's on the record. people come see us they want to hear what put us on the map. >> i stood in the room like this. they were all around me. they were about to play me songs they had written for chicago 16. each was equally as average as the last. they said what do you think? i said these songs suck. ♪ >> david foster was a very sought after exciting young

writer-producer who was really at the top of his game. >> i don't know what jimmy's contribution was to the early albums but i suspect the sound they had, he just had to harness the sound and just hang on for dear life. i don't think he was hands on getting in there playing, arranging and writing. the first day of the first session i said, peter, at the bridge you played a wrong note there. f, not e. whatever. he took me to the vocal booth. there was nobody in there and said, you know, i don't want you to out me in front of the band. furthermore, i don't want to play bass anymore. you play bass. ♪ peter was unhappy in the group. the double whammy was it clicked. fortunate and unfortunate at the same time, we became the power couple within the group. >> "hard to say i'm sorry" was the big first hit. it emerges from a movie sound track called "summer lovers".

everything fell in place. >> we went to the premiere. peter and i next to each other. had written the song. he's in it. the end title comes on. you can see hear it really nice. ♪ we're getting excited like this is ouroment,an. it's filling the speakers. way in the background of the movie is a motorcycle getting louder and louder and the song is getting softer and softer. are you kidding? you think the sound of a motorcycle is more important than this beautiful song we have written? we were bummed but it went to number one. ♪ ♪ everybody needs a little time away ♪ ♪ i heard her say ♪ from each other >> peter started to feel invincible. he started to feel empowerment. >> peter had really shaped up.

he got physically in shape. he was focused. he was really kind of like a new man. ♪ hold me now ♪ it's hard for me to say i'm sorry ♪ >> there was never any one face in the band. but it became all about peter. ♪ after all you've been through ♪ ♪ i will make it up to you >> the focus changed. there were videos. ♪ i promise you >> when we went in to record videos the director would say, who's the leader? what do you mean? there is no leader. shoot all of us. i can't do that. there's too many guys. there would be no focus. so guess what. they focus on the lead singer and peter cetera became the star. ♪ couldn't stand to be kept away ♪ ♪ just for the day ♪ from your body

>> so all of the sudden we have a new guy stepping to the front and frankly is completely different from anything chicago is doing. ♪ far away ♪ from the one that i love >> at that point adding a new approach with a new enthusiasm was fortuitous timing. >> we were desperate for a hit record. >> okay. if tt will put us on the radio, okay. ♪ hold me now >> david would start dictating lines to us. he wrote the song with peter. >> he did a wonderful job on the records. >> i know i'm great. you can't have 16 grammys and not be great. >> he had his crew. who he was going to use. it didn't do some of us any good. he wouldn't use us on the records. >> because peter was part of of the writing team he had a say.

the songs we had written, not so much. >> i had submitted a few songs to david foster. they were just song ideas. i think maybe one of them got saved. and made into a song. that's "get away." ♪ >> i didn't get any writing credit on it and the horns is the melody. >> he's just an arranger. ♪ [ cheers and applause ] (vo) maybe it was here, when you hit 300,000 miles. or here, when you walked away without a scratch.

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♪ you know, it's easy to take care of jimmy buffet or stevie nicks. you talk to one person. with chicago it's a committee. ♪ >> i always used to say they used to have a meeting about having a meeting. >> some of the problems were band meetings and everything was democratic. >> peter came and made ultimatums. >> peter wanted a double share. >> we knew he didn't want to go on the road. >> i want my own bus.

i want more. >> we said, okay, we'll give you more control. if you want that, that's going to do something. >> i have to say peter was not a fan of the horns to be honest. ♪ ♪ you know our love was meant to be ♪ ♪ the kind le that lasts forever ♪ >> you know, peter felt there didn't need to be brass on every single song. i happened to agree. >> i just can't say they were the integral part of what the music was up to that point. >> horn players would come in, hear the vocals, walk over to the board and go, turn the vocals down. they would grab the faders and there would be no vocals. we'd put it back and peter would go, turn those horns down. ♪ you're the meaning in my life

♪ >> concentrate on the vocals he would stop playing the bass. there would be no bottom. so that's when i started playing bass. >> i picked up a guitar. jimmy played keyboards. we just wanted to be part of the songs. it came to a point we thought, geez, maybe it's not going to be a horn band anymore. >> my records were good. i was hitting my stride as a writer, producer, player. i begged them. this is a hit. i promise you this is a hit record. you've got to cut this song. no, we're not interested. we don't like it, don't want to do it. we didn't write it. we don't want to do it. i used all three of them to get them at least interested to do the demo. ♪ i guess i thought you'd be here forever ♪ ♪ i guess i thought you'd be here forever ♪ >> i think i gave them a lot of success but softened the sound past the point of where i should have. ♪ don't know what you've got

♪ until it's gone >> the difference from the inception of the group was much different. one thing you don't want to do is try to keep somebody in the band who doesn't want to be there. ♪ ♪ but then you were gone ♪ and it all was wrong ♪ no idea how much i care >> when peter left it gave them the opportunity to kind of, you know, reform the way they want to. they had the manager call up and say, i think i can almost quote his words. we're not sure how the band is going to be structured next year. to me that says you're fired.

>> at the time i connected with these guys i was just playing a lot of top 40 music, top 40 bands. that was really as far as my aspirations went. ♪ i was just looking at it as let me just play and sing these songs like a great top 40 gig. ♪ waiting for the break of day >> we had success with foster. we needed to -- obviously peter was gone now. we needed a departure. >> it was like a team losing a good player. robert, lee, walt and jimmy just picked right up and just moved forward. >> it's not going to stay the same. it's got to be different.

it's got to go somewhere. we did the power ballads. got -- for doing the power ballads too. they sold out. they don't take chances anymore. i don't care what they think. ♪ ♪ sitting prosecute traft on the floor, five or six to more ♪ >> you're redoing one of the classic songs. why put me in that position? awesome. >> i don't hide the fact that i tried to get him to sing like peter on the record. ♪ staring blindly into space >> there were and are a lot of tenor voices in rock. none sound like cetera. >> in my mind i'm the one that brought jason into the band. now you're going to get ten different perspectives about who called him, who put him in.

>> foster wanted him out of the band. he didn't like his voice at all. i fought with david. i fought for jason. i said, give him a chance. >> i absolutely 100% never wanted jason out of the band. i wanted him in the band. in my recollection he was my pick and i brought him to the guys. that's what i recall. is that solid enough? i can't believe danny would say i didn't want jason in the band. that's ludicrous. ♪ take me as i am ♪ put your hand in mine >> coming in to something that had been together for so long, this is a family, this is awesome, this is us and everything. i was with a group full of guys who were mentors that had been through a lot. i'm looking at that saying this is what they did to come out the other end of it. this is what i'm doing. it's cyclical. do your best work. just don't self-destruct. it comes back around. the road is narrowing. if you just stay and survive

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et ♪ >> i was working with david foster at a time when david for whatever reason felt he wasn't getting what he wanted from danny. >> my friend hawk woliki calls and says, hey, what the [ bleep ] is jeff playing? on a chicago record. i went what? >> david foster wanted somebody who could play better with a click. it was the era of the click. ♪ >> he'd lost his confidence. i had this sound i wanted that he couldn't get. >> i don't know. all i know is he did it behind danny's back. danny got very upset about it. in fact, he threatened him. the manager called and said you better get out of there now. why? danny just found out. he's coming down to the studio with a gun. >> first of all, i wanted to kill him and almost did. i said what the [ bleep ] is

going on. they said, we wanted to try out simmons with the electronic drums. jeff had a set. i think it was -- i think it was bull. >> when technology started improving or at least growing or inventing new stuff musicians had to learn how to use them. >> being thrown on a click, i could see them talking about me in the crop rooch rk footstontrl everybody talking about me. i could feel the doubt. it just [ bleep ] me up. >> i really don't want to have to figure out where one is. that's the musician talking. changing the time without everybody else knowing where it's going to go, the rest of the guys in the band shouldn't have to figure it out. >> danny's lack of accurate time keeping and drumming was a detriment to the band in live performance. >> we went to england finally again. we hadn't had a career in england for a long time because terry insulted the country on the world tour in '77.

here we are in london. >> i took my wife with me. she'd never been to europe. >> she got out of the sack at 7:00 in the morning. they rented a car. danny's driving himself. >> we went sightseeing. >> seeing castles and whatnot. >> i was jet lagged. >> 12 hours later we're leaving for a show and this man -- >> we played the show and i really did play horribly. it was terrible. >> bum, bum, bum. ♪ >> after the show we had a meeting. hey, danny, you've got to stop looking at castles. dude, come on. what's going on here, man? ♪ you lost it here. >> in the '70s he broke new ground. when he was really good he was very good. in my view he spent too much

time focusing on things other than music. really sort of being on top of it. >> his mentality was buddy rich, mick fleetwood that he should control the band. it wore thin after a while. >> there's probably some truth to that. we had good management. i didn't need to be the drummer-manager anymore. leading thband out of the darkness, so to speak. >> when we're playing we're not worried about business. that's a separate thing. it has a compartment. >> i really just think business really became more important than playing. >> you don't do business just before or during the show, worrying about the deal. you play the [ bleep ] song. ♪ >> it shows. he started having these mixing boards next to the drums. he'd be playing and while he was playing he was mixing.

>> it takes two hands and two legs to play the drums. if you take one off you start missing stuff. >> dude, what are you doing? >> that's when the founding members got together with danny, asked him to take time and get it together. >> you have to focus back on your playing and become danny again. >> what are you talking about? i just played on everything we just did. it was a huge success. ♪ if you see me walking by ♪ and the tears are in my eyes ♪ look away ♪ baby look away ♪ and if we meet on the street someday ♪ ♪ and i don't know what to say >> jason said to me and i wanted to slap him, we felt the album was successful in spite of your playing. hey, listen, i think it's important to actually really ask yourself is there validity to this. >> there was truth to all of that to a certain degree. i could see it.

if the guys are all saying it, it must be right. >> that's a viewpoint and perspective by the collective group. it's a message. i said, oka i'll go back. i'll woodshed and have aong meeting with myself about my playing and work on it with a click. work on this and that. i got with a teacher. woodshedded like crazy for six weeks. >> when danny came back from woodshedding and us having to work with another drummer there was really no change. >> we tried to make him aware of it, he didn't agree. one thing led to another. he ended up being out rather than in. >> as much as i kind of knew it was coming, it was -- it just knocked me to my knees. you know, i lived, ate, drank, pissed, bled, cried, lived, died that band.

you know. >> i'm just speculating. i think danny felt he was the founding member of the band and we were going to have to take him regardless of how we felt he was playing. i just felt if he was going to stay in the band it would tear the band apart. so he had to go. >> i think the loss of friendship was probably what hurt me more than anything. because all of the sudden i went from having seven -- six or seven other brothers to nothing. >> we never would have gotten rid of anybody. that's not the way it works. the beatles didn't get rid of anybody. how could it be the beatles if somebody leaves? come on. that's the last thing we wanted to do. but it became impossible to work and function properly as a band. >> those six guys in that room, that stayed together and was special for such a long time. longer than the shelf lives of

all the one-hit wonders and somewhere in between that glitch happened and i'm sorry for it. >> people will always know me as the drummer of chicago. it's ironic. they still bill me as chicago's nny seraphine. >> once danny was gone and triss came in we all thought, hey, we better all shape up. >> they really made me feel at home. they also said, you don't have to do what danny did. >> since he joined the band, talked about never having to worry about where one is, i never have to worry about where one is. a musician performs always. that's what we do. that's what the band is about. >> we'll be in there somewhere in the index under c for chicago. >> hopefully. >> those guy, man. all of them.

just have this uncanny ability. and do reinvent themselves. what they hear. what their muse tells them or whatever. >> think everyone genuinely cares about each other. we spend more time with each other than we do with anybody else. i think that's just a thing that's kind of grown over the years. >> the brain works perhaps more efficiently with bullet points. obviously it's a very different experience to have lived through history. to me, it's one very long sweep. >> nobody has had successful years consecutively for 47 years. nobody. nobody. nobody.

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in 1967, a group of musicians came together and they were weaving their city's diverse musical influences into one bold, beautiful sound. it is my honor to finally induct chicago into the rock 'n' roll hall of fame.

♪ >> it's a milestone. thank you for finally inviting us into your house. for me when you say who are the greatest bands, the eagles, the beach boys, chicago. >> this band started on february 15th, 1967 when we played for the first time in my basement. we never thought we would be standing up here at this time. ♪ >> the band deserves being in the hall of fame. they deserve it. this is not one of the shows. this is one of the most special shows of their careers. >> life has many ups and downs

and i have been lessed with three things that never failed me. music, my trumpet and the guys in this band. >> walt, danny, lee, james, wh saturday in the park, i think about a man playing guitar. i give it a quick look up to the heavens to say hi. >> i'm still working through losing terry. >> my greatest recollections is when they were playing in those days and they played six sets. they worked hard and it's ironic because nothing's changed. that was how they started and they continued on.

they loved to play. they loved to perform. >> i would like to thank our manager who believed in us for over 30 years and i'm biased because i'm from the neighborhood. 12th and polasky. you are a great friend. you have a heart of gold. park are he has been our offense and defense and kept us working for almost 50 years. we love you, peter. >> sheer like an energizer bunny. never needs batteries. he keeps going and going and going. >> they have been around him for a long time. what's their secret? with the in additions that had to be brought in due to the departure or death, i think they were guys that worked in harmony. good players who were easy to play with. >> and lastly to the fans out there for making it happen for us day after day and year after year. we are not going anywhere.

you ain't seen nothing yet. >> until the last couple of years, i hadn't really thought about it would be nice to just sit. it would be nice to not have to be somewhere in some lobby at 6:30 getting on a bus and going to a gig. it would be nice to not have to play. having said all that, anybody who stops doing anything that they have done their entire life will eventually miss it. >> once we get off tour, i don't know what our relationship will be because you don't see each other. >> you don't know what it's going to be like, but it's scary. something i have done since i was 9 years old and that won't ever go away. >> logically i don't expect once

it's over i don't expect we would spend much time together. we spent enough time together to last a lifetime. >> i will never stop thinking of my brothers as my brothers. we are closer than we are to some of our families. >> we have separate families now. we are still brothers. i don't know. >> i feel the impetus of running out of time. i'm finding to be very inspiring. i feel like i'm running out of

time and i better get down. >> yeah. mortality is a reality. >> we're have been asked how long it can go for. quite a long time. it doesn't have to stop. >> i don't want to [ bleep ] around. >> we're not. >> we are hitting ourselves. >> one thing he said he wants to be like picasso. picasso fell over dead working on a sculpture at 96. he said i want to be like picasso and fall over dead-on stage. we said yeah, we will all fall over dead together. ♪ ♪

>> there are some that accused you of having videos that are like soft porn. >> they are tastefully smutty. >> what are your dreams? >> to rule the world. >> michael jack is the man of the 80s. >> music to the beat and talk. it's rap music. >> i will speak my mind. >> heavy metal glorifies sex and violence and hates authority and adolescent boys love it. >> it's weird, beastly presentation that was birthed in the pit of hell.