12/16/2023 0 Comments The wishing stone and other mythsWith the key word "sufferbus" already having been recently used on the 1992 album Sunrise on the Sufferbus by Masters of Reality, and rejecting the lyrical draft of "I'm gonna send my love to the universe", the search for a similar sounding word ultimately also yielded an accompanying ancient mythos. : 81 According to Bailey, Lee Loughnane would go on to receive cowriting credits on the song for having promoted Bailey's demo to the other band members. "Twenty Years on the Sufferbus" was the original title of what eventually became the album's title track, originally composed by Dawayne Bailey as a demo song without lyrics during Chicago's 1989 tour. As a surprise, Scheff solicited an isolated bass performance from his father on the song, and later presented the completed tribute song to his father as a gift. Peter Wolf and his wife Ina heard Scheff's stories and coauthored the song. : 75–76 "Bigger Than Elvis" is an unusually personal ballad, nostalgically recalling Jason Scheff's childhood adulation and heartsickness resulting from his father Jerry Scheff's traveling career as Elvis Presley's bassist, as had been canonized in the television broadcast of Aloha from Hawaii Via Satellite. Containing themes of early hip-hop and chants, it was inspired by the 1960s' precursors of rap music, as taken from the band's listening sessions of composer Robert Lamm's personal collection of old records by The Last Poets. "Sleeping in the Middle of the Bed" was one of the album's more uniquely styled and potentially commercially controversial tracks. The musical content of Stone of Sisyphus was reportedly developed in "complete secrecy" from the entire outside world including the record label, in order to emphasize the band's creative sovereignty. Sisyphus believed he could tackle that rock one more time. Thus, against the distant backdrop of wildfires in and around Los Angeles, : 86 collaboration ensued at the residential studio of producer Peter Wolf. Walter Parazaider called it "a record that had to be made." : 71 taking all the motives away from, 'I've got to make a hit I've got to use outside writers' material'". You have to have your love in mind, and a hit record might happen." : 79 Scheff later reflected that Sisyphus "was our statement. : 70 He admonished them, "Don't try to write a hit. Having already declined the band's employ in the distant past due to scheduling issues, he now accommodated. ![]() of making music for the right reasons." Ĭoncluding their recent album series with producers David Foster, Chas Sandford, and Ron Nevison, the band reapproached Peter Wolf to be the producer of the album. Scheff reflected, "In a sense, it was the beginning of that spirit. The next album, initially assumed to be called Chicago XXII, was conceived out of a desire to rediscover the band's personal, musical, and cultural roots, as an entity existing apart from its ultimately commercially marketed trappings. With the releases of Chicago 18, Chicago 19, and Twenty 1, the band with its new generation of members had accomplished what vocalist and bassist Jason Scheff described as a "new legacy" for the 1990s. 'Hey man, that'll never get on the radio.'
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