Chicago
– Chicago Transit Authority
Before the ballads, before the ’80s pop sheen, before Peter Cetera became a soft-rock icon, there was this—a bold, sprawling double album that landed like a statement of intent. Chicago Transit Authority wasn’t just another debut; it was a jazz-rock explosion, a fusion of brass and blues, pop and politics, grit and groove. At a time when rock was getting heavier and more guitar-driven, Chicago showed up with a full horn section and dared to do something different.
What makes this album special isn’t just the musicianship, though there’s plenty of that. It’s the sheer ambition. Terry Kath’s guitar rips through the mix, full of Hendrix-like fire. Robert Lamm’s songwriting balances sharp social commentary with effortless melody. And the horns—James Pankow, Lee Loughnane, and Walt Parazaider—don’t just color the songs; they drive them, blaring like a second rhythm section. The band moves seamlessly between jazz, blues, psychedelic rock, and funk, refusing to sit still for too long.
For a debut album, this is fearless. It’s packed with long instrumental breaks, political spoken-word segments, and extended jams that stretch past the radio-friendly format. But none of it feels indulgent—it’s all part of the ride. Chicago Transit Authority is what happens when a group of musicians at the top of their game refuses to play by the rules.
Choice Tracks
Does Anybody Really Know What Time It Is?
One of the band’s first major hits and a perfect example of their blend of jazz and rock. Lamm’s piano sets the stage, the horns dance around the melody, and the lyrics take a wry look at time and modern life. Smooth, catchy, and just a little bit sarcastic.
Beginnings
A slow burn that builds into something joyous. Lamm’s vocals are warm, the groove is easygoing, and by the time the percussion breakdown kicks in, it’s impossible not to get swept up in it.
Questions 67 and 68
Robert Lamm at his most melodically rich. The vocals soar, the brass punctuates every line, and the whole thing feels like a blueprint for the band’s future sound. A love song, but one that refuses to play it straight.
I’m a Man
A cover of the Spencer Davis Group classic, but with Chicago’s stamp all over it. The rhythm section is relentless, the horns punch through with force, and Terry Kath’s guitar solo is pure electricity.
Poem 58
If you ever needed proof that Terry Kath was one of rock’s most underrated guitarists, this is it. A bluesy, extended jam where the guitar takes center stage, bending and wailing in ways that feel almost otherworldly.
Liberation
An instrumental freak-out that closes the album on a chaotic high note. Eleven minutes of pure, unfiltered jamming—Kath’s guitar wails, the horns blast, and the whole thing feels like a band losing itself in the music.
Chicago Transit Authority was bold, innovative, and unlike anything else at the time. The band would streamline their sound in the years to come, but this album captures them at their rawest and most adventurous. A debut that still stands as one of their best.