THE CHICAGO TRANSIT AUTHORITY

Welcome to Chicago, the home of amazing brass arrangements, a stellar rhythm section, a mastermind guitarist and an impressive debut album. For those who thought Chicago was just a commercial pop band that produced radio hits in the 70s and 80s, this ambitious double album will prove you wrong. A solid mix of rock, jazz, soul and blues, Chicago Transit Authority is especially unique compared to other albums of the era by including an entire horn section in their lineup. This gives the band a fresh jazz-rock style that feels original.

We start with the self-explanatory 'Introduction' where the band goes through a bunch of movements in 6 minutes; it ebbs and flows in dynamics as smoothly as the brass section plays. A fantastic way to begin the album. The next track, 'Does Anybody Really Know What Time It Is?', starts off with a piano solo before moving straight into the hummable verses that snappy chorus that garnered much deserved radio play. 'Beginnings' opens with acoustic guitar as drums, bass then horns come in. Vocals follow in this uplifting track. Everything seems to get more passionate halfway through. Peter Cetera plays some really good bass on this track especially after 4 minutes and a great percussion outro to end it.

'Questions 67 and 68' is a powerful track with a ton of heavy brass, fast guitars, strong drums and of course Cetera's soulful vocals. 'Listen' follows; what I really like is the onset built around Terry Kath's single feedback note. It's more of a true rock song in that they emphasize the guitar, organ and rhythm and the horns are only there to embellish. 'Poem 58' is a great highlight, a guitar-driven rock jam in which Kath shows off his prowess. Not to mention, the guitars with Cetera's bass and Seraphine's remarkable drumming are an essential driving force to this song.

Kath gets his own piece with 'Free Form Guitar', a 7-minute experimental piece of guitar improvisation similar to the riveting solos of Jimi Hendrix (Hendrix once mentioned Kath as his favourite guitarist). Keep in mind that no pedals or effects were used on this track, only a guitar and an amp. Whether this fits in with the album or not, it's an intriguing piece. 'South California Purples' is a long bluesy rocker with some backing horns thrown in. Saving a slightly weak third side is a cover of the Spencer Davis Group's 'I'm a Man' which does not pale in comparison; the organ of Robert Lamm, the bass and guitar are on point and I like how driving the hook gets at times. The drums add a completely new flavour to the song too.

The last side begins with 'Prologue', a one minute introduction of what may be an actual recording of the controversial 1968 Democratic Convention in Chicago featuring the crowd chanting the infamous phrase 'the whole world is watching'. This segues to the next track 'Someday', filled with splashy horns, pounding piano chords and politically-charged lyrics. The album ends with a 14-minute jam, 'Liberation'. A brilliant but lengthy demonstration of musicianship and virtuosity from the performers.

'Chicago Transit Authority' still feels as fresh as ever. A strange and daring double debut album, and a mighty successful one at that. For what it serves, it's hard to ask for much more and the production is satisfactory. I recommend this to fans of classic 60s rock who don't mind a tad more brass and if you like progressive rock with more accessible and bluesier roots.

5.0 essential for jazz fusion fans. I had this review saved for a while.

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