Excellent Post!! At age 11, unable to convince his parents to buy him a guitar, he instead was given accordion lessons. A few years later, some older friends took him to a teenage nightclub outside of town. He recalls, “I walked in and a band called the Rebel Rockers was playing. I remember the guitarist and bass player were standing on their amps, rocking back and forth. I thought it was the coolest thing I’d ever seen—I was hooked.” As a 15-year-old high school sophomore, Cetera got a Montgomery Ward acoustic guitar and learned some open chords. Upon meeting and jamming with a guitar-playing senior who wanted to form a band, Peter moved over to bass, buying a Danelectro Short Horn. Cetera stayed the course, moving on to better Top 40 bands and hitting the club and concert trail all over the Midwest . “By the time I was 18,” he admits, “I was making more money than my dad.” When David Foster was brought in to produce our first album for Warner Bros. [ Chicago 16], that really took bass out of the equation. He and I clicked immediately and started writing together, but the sound of pop music had changed. David was not only the best keyboard player I’d ever heard in my life, he was the best drum programmer and the best synth bass player. I would go to pick up my bass and then hear him play a killer Moog groove and I’d literally put the bass away in its case. It just didn’t fit the music at that point. I also began to feel that during my time with the band, because I hadn’t been able to fully focus on either singing or bass playing, both had suffered. So, when I went solo soon after, I decided to concentrate entirely on singing and being a frontman. Peter Cetera began his Chicago career with his ’64 Fender Precision (featuring a rosewood fingerboard and custom Paisley-painted body). Though he tried numerous other basses—including a Gibson EB-3, Rickenbacker 4001, Gibson Ripper, and fretted and fretless Fender Jazz Basses—it was the P-Bass he kept returning to. He began with La Bella flatwounds but moved on to roundwounds, never quite liking them as much as the flats. His live amp choices were more transient, including Kustom, Acoustic, Sound City , Phase Linear, Orange , and Ampeg rigs. In the studio, Cetera generally recorded his P-Basses (he used producer James Guercio’s Precision on the first album) both direct and through an Ampeg B-15, at times with tissues stuffed under the strings for a bit of damping. Cetera’s bass was always prominent in the mix, perhaps in part because Guercio was a bassist. Currently, Peter’s bass collection features his ’64 P-Bass (now white), a Lake Placid Blue ’65 Jazz Bass, his ’64 Hofner Beatle Bass, a ’65 Vox Constellation IV bass, and a Tune Bass Maniac. Most are strung with La Bella flatwounds. He borrowed Nashville session ace Mike Brignardello’s P-Bass to record the track on his Christmas CD, and he’s expecting his McPherson acoustic bass guitar in time for his December tour. His picks are Fender mediums.