Peter Cetera
- Music Department
- Actor
- Composer
Noted vocalist and bassist Peter Paul Cetera was born in Chicago,
Illinois, on September 13, 1944. His initial foray into music was the
accordion, but he soon made his way to electric bass (and,
occasionally, guitar). Cetera's family was Polish in origin, and Peter
grew up Catholic.
As a youngster, Cetera made the rounds in local bands before landing a
gig with The Exceptions. In December of 1967, The Big Thing (later
Chicago) and the Exceptions were playing the
same place when Cetera approached the former, saying he liked what they
were doing. Two weeks later, he'd switched bands.
Cetera's addition benefited Chicago in many ways. First, his tenor
voice complimented the baritones of guitarist
Terry Kath and keyboardist
Robert Lamm. Second - and most important at
the time - his bass playing simply rocked. Together with Kath and
drummer 'Danny
Seraphine', Cetera made the
rhythm section cook. Although not especially noted as a bass player
now, at the time, Cetera set the standard. Early Chicago recordings -
such as "Listen" and "Poem 58" - benefit immensely from Cetera's
creative lines.
But it's as a singer that Cetera is especially noted, and there's no
doubt that the man can sing. "Questions 67 and 68," "25 or 6 to 4,"
"Just You and Me," and "Call On Me" all testify to his ability to sing
the spots off a tune. His unique vocal phrasing was the result of
reconstructive surgery following a fight he got into at a baseball game
in 1970. Eventually, Cetera became known as the voice of Chicago.
Cetera was the last of the original Chicago members to join, and it's
tempting to say that he always felt a bit like an outsider (says
trombonist James Pankow, "Peter hated the
horns"). According to Cetera, his early attempts at songwriting weren't
well received by others in the band (it must be said these efforts are
hit and miss), and by "Chicago VII" (which was supposed to be all
jazz), his frustration was showing. When producer
James William Guercio agreed that
the "VII" sessions weren't going well, Cetera offered his compositions
"Happy Man" and "Wishing You Were Here" - both winners, and both huge
hits. Saying he was always the frustrated rocker in the group, Cetera
hit home with the almost metal "Hideaway" on "Chicago VIII," a truly
inspired bit of writing - tellingly, without horns.
Cetera, Guercio, and Kath recorded "If You Leave Me Now" after the
others had finished their work on the "Chicago X" sessions, and when it
hit, it went straight to #1 - the first Chicago single to do so. He
scored again on "Chicago XI" with "Baby, What A Big Surprise," even
though it was obvious that his contributions on that session were
limited (he wrote and sang only that one tune). It was at this time
that the group split with Guercio, and that - according to Cetera -
both he and Kath were sick of what Chicago was doing. "Everything that
can go on with a band was going on with us," Cetera has said. When Kath
accidentally shot himself early in 1978, Cetera thought the band would
end naturally. Doc Severinson talked them out of it. Cetera's bloated
and disheveled appearance at this time may be indicative of his
feelings about soldiering on.
But Cetera soon became the focal point. He was all over the
increasingly low selling albums, sometimes penning and singing
out-and-out winners ("Little Miss Lovin'," "Loser With A Broken
Heart"), sometimes penning and singing sappy drivel ("Song for You").
When Columbia Records dropped Chicago, Cetera jumped on the opportunity
to do solo work. His 1981 album "Peter Cetera" featured his great
rocker, "Livin' In the Limelight."
Cetera became the Man in 1982. The "Chicago 16" sessions added
keyboardist-guitarist-vocalist
Bill Champlin and producer
David Foster, but Cetera made the
most of the opportunity, penning a funked-up rocker ("Bad Advice"), and
the monster hit "Hard to Say I'm Sorry." 1984's "Chicago 17" cemented
Cetera's position as he racked up the hits "You're the Inspiration,"
"Stay the Night," "Hard Habit to Break," and "Along Comes a Women." The
fine work others contributed was usurped by Cetera's popularity, and
the break up was inevitable.
According to Champlin, Cetera had been thinking about leaving for
years: "He was ready." He'd quit smoking and drugs, lost weight, and
began paying attention to his looks. Cetera says that he wanted to do a
Phil Collins/Genesis-type
deal, and the others wouldn't have it; others, like James Pankow, say
Cetera wanted 50% of the cut, and top-billing ("Peter Cetera and
Chicago"), and they wouldn't have it. Ultimately, according to
keyboardist Robert Lamm, Cetera quit, saying, "I never really dug the
music that much anyway." It was July of 1985.
As if in answer, Cetera immediately scored a #1 hit with "Glory of
Love" - which had horns! He followed up with chart busters like "After
All", (with Cher) "One Good Woman", "Feels
Like Heaven" (with Chaka Khan), and
has recently re-recorded some of his Chicago hits and a Christmas
album.
Described as quiet and private, the blond Cetera has been married at
least twice. His hair cut in a page-boy early in his career (with the
occasional beard), he has stayed slim and GQ recently. Now out of
Chicago longer than he was in, he dislikes discussing his years in the
group, saying, "It's like talking about your ex-wife." He has turned
down chances to re-unite with Chicago over the years, and famously
refused to allow VH1 to use any of his songs in the "Behind the Music"
episode about Chicago. He has two children (both are daughters), has pretty much quit
playing bass, and has only started touring again recently after a long,
self-imposed exile. He is, however, accessible on his website, where he
answers questions and chats with fans with a great deal of humor and
candor.
Illinois, on September 13, 1944. His initial foray into music was the
accordion, but he soon made his way to electric bass (and,
occasionally, guitar). Cetera's family was Polish in origin, and Peter
grew up Catholic.
As a youngster, Cetera made the rounds in local bands before landing a
gig with The Exceptions. In December of 1967, The Big Thing (later
Chicago) and the Exceptions were playing the
same place when Cetera approached the former, saying he liked what they
were doing. Two weeks later, he'd switched bands.
Cetera's addition benefited Chicago in many ways. First, his tenor
voice complimented the baritones of guitarist
Terry Kath and keyboardist
Robert Lamm. Second - and most important at
the time - his bass playing simply rocked. Together with Kath and
drummer 'Danny
Seraphine', Cetera made the
rhythm section cook. Although not especially noted as a bass player
now, at the time, Cetera set the standard. Early Chicago recordings -
such as "Listen" and "Poem 58" - benefit immensely from Cetera's
creative lines.
But it's as a singer that Cetera is especially noted, and there's no
doubt that the man can sing. "Questions 67 and 68," "25 or 6 to 4,"
"Just You and Me," and "Call On Me" all testify to his ability to sing
the spots off a tune. His unique vocal phrasing was the result of
reconstructive surgery following a fight he got into at a baseball game
in 1970. Eventually, Cetera became known as the voice of Chicago.
Cetera was the last of the original Chicago members to join, and it's
tempting to say that he always felt a bit like an outsider (says
trombonist James Pankow, "Peter hated the
horns"). According to Cetera, his early attempts at songwriting weren't
well received by others in the band (it must be said these efforts are
hit and miss), and by "Chicago VII" (which was supposed to be all
jazz), his frustration was showing. When producer
James William Guercio agreed that
the "VII" sessions weren't going well, Cetera offered his compositions
"Happy Man" and "Wishing You Were Here" - both winners, and both huge
hits. Saying he was always the frustrated rocker in the group, Cetera
hit home with the almost metal "Hideaway" on "Chicago VIII," a truly
inspired bit of writing - tellingly, without horns.
Cetera, Guercio, and Kath recorded "If You Leave Me Now" after the
others had finished their work on the "Chicago X" sessions, and when it
hit, it went straight to #1 - the first Chicago single to do so. He
scored again on "Chicago XI" with "Baby, What A Big Surprise," even
though it was obvious that his contributions on that session were
limited (he wrote and sang only that one tune). It was at this time
that the group split with Guercio, and that - according to Cetera -
both he and Kath were sick of what Chicago was doing. "Everything that
can go on with a band was going on with us," Cetera has said. When Kath
accidentally shot himself early in 1978, Cetera thought the band would
end naturally. Doc Severinson talked them out of it. Cetera's bloated
and disheveled appearance at this time may be indicative of his
feelings about soldiering on.
But Cetera soon became the focal point. He was all over the
increasingly low selling albums, sometimes penning and singing
out-and-out winners ("Little Miss Lovin'," "Loser With A Broken
Heart"), sometimes penning and singing sappy drivel ("Song for You").
When Columbia Records dropped Chicago, Cetera jumped on the opportunity
to do solo work. His 1981 album "Peter Cetera" featured his great
rocker, "Livin' In the Limelight."
Cetera became the Man in 1982. The "Chicago 16" sessions added
keyboardist-guitarist-vocalist
Bill Champlin and producer
David Foster, but Cetera made the
most of the opportunity, penning a funked-up rocker ("Bad Advice"), and
the monster hit "Hard to Say I'm Sorry." 1984's "Chicago 17" cemented
Cetera's position as he racked up the hits "You're the Inspiration,"
"Stay the Night," "Hard Habit to Break," and "Along Comes a Women." The
fine work others contributed was usurped by Cetera's popularity, and
the break up was inevitable.
According to Champlin, Cetera had been thinking about leaving for
years: "He was ready." He'd quit smoking and drugs, lost weight, and
began paying attention to his looks. Cetera says that he wanted to do a
Phil Collins/Genesis-type
deal, and the others wouldn't have it; others, like James Pankow, say
Cetera wanted 50% of the cut, and top-billing ("Peter Cetera and
Chicago"), and they wouldn't have it. Ultimately, according to
keyboardist Robert Lamm, Cetera quit, saying, "I never really dug the
music that much anyway." It was July of 1985.
As if in answer, Cetera immediately scored a #1 hit with "Glory of
Love" - which had horns! He followed up with chart busters like "After
All", (with Cher) "One Good Woman", "Feels
Like Heaven" (with Chaka Khan), and
has recently re-recorded some of his Chicago hits and a Christmas
album.
Described as quiet and private, the blond Cetera has been married at
least twice. His hair cut in a page-boy early in his career (with the
occasional beard), he has stayed slim and GQ recently. Now out of
Chicago longer than he was in, he dislikes discussing his years in the
group, saying, "It's like talking about your ex-wife." He has turned
down chances to re-unite with Chicago over the years, and famously
refused to allow VH1 to use any of his songs in the "Behind the Music"
episode about Chicago. He has two children (both are daughters), has pretty much quit
playing bass, and has only started touring again recently after a long,
self-imposed exile. He is, however, accessible on his website, where he
answers questions and chats with fans with a great deal of humor and
candor.