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J'ai essayé de comprendre le lien musical entre, Astronomy domine (c'est psyché,ça?), Graham Gouldman, et Mortimer (posté dans le forum aux oubliés du psychédélique).
Bof... En fait, le seul lien provient de la façon de jouer en rupture avec l'avant ère psychédélique et de rendre le rock moins "binaire" ou "simpliste"
L'époque psychédélique a permis au rock (and roll) de devenir rock music et adulte, avec ses avatars, prog, space rock, hard ou heavy rock, rock music, et pop, jusqu'à la variété middle of the road (motimer et un peu Graham) (ce n'est pas péjoratif, j'adore).
Par contre, pour celui qui a dit que j'étais à coté de la plaque avec Chicago, je ne résiste pas à l'envie... (non, pas cela, contraire à la netiquette)...
... De lui donner cet extrait d'article de all music guide sur Chicago :
"
Chicago marked the confluence of two distinct, but intermingling musical strains in Chicago, IL, in the mid-'60s: an academic approach and one coming from the streets. Reed player Walter Parazaider (born March 14, 1945, in Chicago, IL), trumpeter Lee Loughnane (born October 21, 1946, in Chicago, IL), and trombonist James Pankow (born August 20, 1947, in St. Louis, MO) were all music students at DePaul University. But they moonlighted in the city's clubs, playing everything from R&B to Irish music, and there they encountered less formally educated but no less talented players like guitarist Terry Kath (born January 31, 1946, in Chicago, IL; died January 23, 1978, in Los Angeles, CA) and drummer Danny Seraphine (born August 28, 1948, in Chicago, IL). In the mid-'60s, most rock groups followed the instrumentation of the Beatles -- two guitars, bass, and drums -- and horn sections were heard only in R&B. But in the summer of 1966, the Beatles used horns on "Got to Get You into My Life" on their Revolver album and, as usual, pop music began to follow their lead. At the end of the year, the Buckinghams, a Chicago band guided by a friend of Parazaider's, James William Guercio, scored a national hit with the horn-filled "Kind of a Drag," which went on to hit number one in February 1967.
That was all the encouragement Parazaider and his friends needed. Parazaider called a meeting of the band-to-be at his apartment on February 15, 1967, inviting along a talented organist and singer he had run across, Robert Lamm (born October 13, 1944, in New York, NY [Brooklyn]). Lamm agreed to join and also said he could supply the missing bass sounds to the ensemble using the organ's foot pedals (a skill he had not actually acquired at the time).
Developing a repertoire of James Brown and Wilson Pickett material, the new band rehearsed in Parazaider's parents' basement before beginning to get gigs around town under the name the Big Thing. Soon, they were playing around the Midwest. By this time, Guercio had become a staff producer at Columbia Records, and he encouraged the band to begin developing original songs. Kath, and especially Lamm, took up the suggestion. (Soon, Pankow also became a major writer for the band.) Meanwhile, the sextet became a septet when Peter Cetera (born September 13, 1944, in Chicago, IL), singer and bassist for a rival Midwest band, the Exceptions, agreed to defect and join the Big Thing. This gave the group the unusual versatility of having three lead singers, the smooth baritone Lamm, the gruff baritone Kath, and Cetera, who was an elastic tenor. When Guercio came back to see the group in the late winter of 1968, he deemed them ready for the next step. In June 1968, he financed their move to Los Angeles.
Guercio exerted a powerful influence on the band as its manager and producer, which would become a problem over time. At first, the bandmembers were willing to live together in a two-bedroom house, practice all the time, and change the group's name to one of Guercio's choosing, Chicago Transit Authority. Guercio's growing power at Columbia Records enabled him to get the band signed there and to set in place the unusual image the band would have. He convinced the label to let this neophyte band release a double album as its debut (that is, when they agreed to a cut in their royalties), and he decided the group would be represented on the cover by a logo instead of a photograph.
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C'est assez clair, il y assez de mid sixties dans le texte ?? Un groupe ne nait pas du jour au lendemain. Vérifiez un peu vos sources avant de me balancer hors sujet...
Vu les commentaires du forum francophone qui me scotchent par leur compétences, je croyais naïvement que tous étaient du même niveau... Kolossale erreur.
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Non mais là, je crois qu'on est dans le registre du problème de communication. 
Et puis d'abord, ce topique est inepte ! 
