Chicago Transit Authority

The music and content itself was decent but it just went on for way too goshdarn long. Started pretty strong though.

The single most expensive new Fender guitar available on the Long and McQuade website is the Terry Kath signature Telecaster. I can’t put my finger on why that’s so funny, but it is. I actually liked this more than I expected. The main base is pretty corny and bland but it goes off in some pretty wacky directions at times. Didn’t like it enough to become a Chicago fan or to seep out more. But liked it more than I expected.

This album started off sooooo strong!! I was loving every bit of each songs from the amazing instrumentals to the singing. There was an interesting choice made around the middle of the album with the "Guitar Solo", so it's almost a perfect album for me.

Jazz rock blows

Does anybody really know what time it is? Does anybody really care? 🤔⌚

This is too much. Not for me sadly.

This Authority ain't getting me to Pittsburgh any faster bro

I thought I would like this more than I did. I like the hits of Chicago. This was long and kind of bland, with nothing that stuck out as catchy as any of their hits.

I don't have the attention span for this interminable, self-indulgent noodling. There were many fun and funky moments I would've enjoyed had they been edited down, but ultimately I couldn't wait for this to be over. High point was I'm a Man. 2.5

Not for me

There's a fun improvisational tone to this record and I quite enjoy the horns.

'Free Form Guitar'. Just why? I mean, sure, muck about and see what sounds you can make for fun. But nobody else needs to hear it. It's not cool or clever. Don't put it on the damn record. And it’s not the only time they get in the way of their own album being better than it ended up being. Some excellent moments get lost in thick layers of prog nonsense and they absolutely could’ve cut this down into a really tight, really solid single LP. I’ll give it some more listens because there’s some great stuff hidden in there but I know which parts to skip now…

Halfway through this incredibly pleasant and accessible album, there's just a noise track. Gets an extra star from me for that. Makes for an interesting reframing of their sound track 8 onwards.

‘I’m a man is the clear stand’ out

Started off feeling kind of chill and then just got annoying from the midpoint 🫠. Not my jam! Album rating: ⭐⭐

It was vibey as hell

This is… obnoxious. I tried, I really did and squinted at it like maybe I was missing some deeper meaning. But nope: The only word that fits is pretentious. Yes, it’s well produced. And yes, it’s probably technically “well executed.” But none of that helps when the whole thing sounds like someone tried to make soul music, albeit with less soul. And then there’s the phallic Free Form Guitar - a track so aggressively annoying, it physically hurts to listen to. if you’re releasing a debut album that clocks in at around 80 minutes, you should definitely have a lot to say. These guys didn’t. Unless “we’re horny, we own pedals and we brought a brass section” counts as a message. You kind of have to admire their confidence though.

legit the most 3/5 thing ever

Indoor know what to think of this. They are good musicians that’s true. But what they play does not give me anything. Funk rock made by white people.

Classic 60s guitar wankery

Wow Introduction really was quite the introduction. That went hard. This is not the Chicago that I have ever known. This is like really good psych rock. It feels kinda proggy and the instrumentation is so good. I'm way stoked on this record.

When I was in 6th or 7th grade, my Mom would listen to Chicago when I was in the car with her. She had one of the Greatest Hits, and it might not have been one of the main albums she listened to, but it was definitely in the rotation between ABBA, Queen and Journey. So naturally, I hated it. Maybe it was the horns? Maybe it was my mom saying "Jake, is this good guitar? These guys are really good." And me being "No Mom. Nothing you like is cool." Anyway, here we are 20 years later and she dropped by my house this morning to pick up my daughter for a few hours today and she says "Is this Chicago? I LOVE Chicago." And honestly, I'm really confused. This doesn't seem like anything that she would like. It's pretty heavy. It has tons of crazy cool psych and experimental elements, and frankly, I really like this shit. So I'm confused. The truth is, this is really cool music. It's so full. The percussion is so dialed, and unique and experimental. The bass is all over the place, he's walking up and down that thing. The guitars are incredible. And then to add jazz horns to it?? And pull it off?? This is sick. Sometimes it feels like a pop song, other times its blues, then it jumps to a Miles Davis inspired 14 minute journeys. Then its free form guitar sounds?? Honestly, I just want to get stoned and listen to this shit. Even the more pop songs like Beginnings or I'm a Man have really cool movements and sections that take the song into weird directions. I'm kind of blown away by this. I don't know what later Chicago is really like. I don't know if they mellowed out for the Greatest Hits or sold their souls for money. I really don't know. I obviously haven't spent a lot of time with this band, but this record on its own is incredible.

It wasn’t bad. Just ok.

9.7/10.

A bit long, but there are some really cool songs and ideas on this album. Don't think they should have went for the double album directly, else it would be 5 star.

This is a great album instrumentally that is unfortunately somewhat let down by the vocals. Still, it is a fairly enjoyable listen. Favorite tracks: "Listen," "Liberation"

This album was another with undeniably talented musicians and sonically was good but it just dragged a bit for me. The brass was a bit fatiguing to listen to and tracks like “Free Form Guitar” “Liberation” just took up too much time. That being said the high points on this album were “Does Anybody Really Know What Time It Is”, “Questions 67 and 68” and “Someday”, and they were great songs. I’d give this one a 2.5 probably.

Absolutely excellent debut album. So rhythmic lively and loud. Funky, fresh, and jazzy. Its hard to believe that this band would regroup in the late 70's and go chase a bag with love ballads. This album is a serious contender of most interesting rock album. Blends a few genres like southern rock and r&b, gets experimental and psychedelic in Free Form Guitar. Pop rock in songs like Beginnings? From the jump Chicago was diverse? Wow.

I can't explain why but I really like the album. There's no particular outstanding track, it just works... 4.5 for me 4 for Deb

Solid, though I feel that it loses a lot of presence on the tail end. The two pure instrumental tracks are unnecessary.

Until I read the Wikipedia entry I didn't connect this band to the band I know as Chicago. They sond very different and their later sound really shows how a band can evolve. There is nothing wrong with this album at all but it isn't something I would choose amongst other great music.

I was groovin at 1st, but the longer it went on, the more I grew to hate it. Free Form Guitar is the straw that broke the camels back with an explosion of fake, wannabe psychedelic guitar nonsense.

I had mixed opinions honestly. Right off the bat, I really enjoyed that this album incorporated a lot of psychedelic rock and a large number of instruments. It did give the album a live sound which adds a lot of charm. I just felt like this album was a test of patience. A lot of times either a song wouldn’t interest me at the beginning but then near the end or like 5mins in, the song will do something really wild or creative. But the problem as a whole is that it kept losing my interest or songs were just way too long and didnt do enough to keep me invested. I didn’t hate this album, didn’t love it. Perfectly forgettable album but not cause it’s bad but because it doesn’t do enough or take enough chances.

Fine

I very much did not enjoy this.

Amazing album

Top tier jazz rock. Totally my style. I can put this on repeat easily. 5

Too long.

The last Chicago album worth listening to. Interesting musically, and a bit of excitement! Then there is the guitar solo. Amazing that anyone can get those sounds out of a guitar. Even more amazing that anyone would want to listen to it.

Every now and then a group of musicians will come together and make some cool music. This is one of those times.

WHAT. IS. THIS? Is it jazz? Is it rock? Is it a bus route? No one knows! What it most definitely is... is a lot. This debut from Chicago (back when they still had a full name and presumably dreams of restraint) hits like a brass section got drunk and kicked down the studio door yelling “WE’RE IN CHARGE NOW.” There's a guitar solo? Swamped. There's a melody? Drowned. There's vocals? Somewhere under the trombone avalanche. At times it’s thrilling—like watching a marching band invade a rock concert. But often, it's just like watching. And the tracks go on! “Does Anybody Really Know What Time It Is?” Me, I do. It’s too long. “Free Form Guitar” sounds like someone attacking a jet engine with a cheese grater while high on wood varnish. The rhythm section's tight, and when they lock in (Beginnings, Questions 67 and 68) it’s like a funk-rock Voltron. But you have to dig through several metric tons of horn-based exuberance and improvisational indulgence to get there. It’s loud, it’s brash, it’s occasionally brilliant, but mainly it’s what happens when no one tells the seven-piece band, “Hey fellas… maybe not all at once.”

In between throwing everything including the kitchen sink at it, this wasn’t bad. Maybe one less extended posturing guitar solo

For the most part? Decent. Good, even. Tasty. But my god, some of the songs on here (notably free form guitar) make you feel like your headphones are malfunctioning and there's just static crackling into your ears. I realize some call it 'experimental', but there's a point where experimental just becomes an experiment in 'how grating can I make this guitar sound'?

Self indulgence layered between skillful playing and jazzy arrangements and progressions. The jams were excellent and gave a soundscape that reminded me at the same time of old timey tv and high action movies. How free form guitar made it on here is a mystery. To be honest, this kind of noise is harnessed and directed much better in the noise solos of Jimi Hendrix so listen to that if you want to give that sound another chance.

Fun. Another album I can rate by the number of horns. Big and dynamic with great playing and cool arrangements. You can kind of tell this is the same band that churned out pop hits from the late 70s and beyond. A bit uneven and might be better taking in as chunks rather than a whole. The same could probably be said for it's sequel. 3.5 horns out of 5

This was well done but so elaborate that it was hard to focus on. Who greenlit that awful guitar track??

Rockin

This album has some genuinely great tracks, no doubt about it. You can hear the talent and the start of what made early Chicago so good. However, then there's "Free Form Guitar." Honestly, that track is just painful to listen to. I had to skip it after about a minute; it's a real head-scratcher. It's one of those moments that makes you wonder what they were thinking. Overall, it's a mixed bag. Some fantastic songs, but also some real duds like the one mentioned. It's not an album I'd reach for regularly. If you're just looking for the good stuff from this era, their "Greatest Hits" collection is probably a much better bet. While I appreciate Chicago's early sound, this particular album doesn't quite hit the mark for me. Three stars feels generous, two and a half more realistic.

I’m having trouble articulating exactly why, but this didn’t work for me. Maybe it’s the bloat, maybe the arrangements are too busy, maybe the melodies are underwhelming. I should probably give this album at least one more shot, but I simply do not want to.

Imagine having the chutzpah to make your debut album a double album, imagine making it be so soft rock it's practically malleable wet clay, imagine having a 7 minute guitar solo as song for no reason... That's the Chicago way!

Enjoyed it more than I thought

Rock meets big band and it works. Excellent...

Intro to album is so incredible. Awesome album. The expiramental guitar stuff is weird.

Pretty great prog/pop/funk rock. Innovative af and great horns and guitar. Musically its a 3 for me but legacy-wise it gets a 4.

The instrumentals are so incredible that the vocals are a massive letdown in comparison and really ruin the sound. The big band jazz sound needs something grittier on top. Lyrics are also atrocious and trite. would happily listen to vocal-less tracks on repeat though. Especially love the keys

Horn music

The songs which featured the horn section were my highlights. The big indulgent guitar tracks weren't for me. Skipped through Free Form Guitar after a couple of minutes. It's getting a point off for that one

I definately confused Chicago with Boston, I was expecting some American da rock but this is pretty cool. Beginnings being the highlight, Poem 58 too

I was liking this album until they started that awful screeching

2.75/3 Really lovely parts and overall really good album, but no the type of thing I’d listen to Potentially nice on vinyl whilst cooking with a partner on a summer evening

Pretty good, not a whole lot to say. Beginnings is a masterpiece.

Hér skiptast á mjög góð grúv og stundum skemmtileg lög, og rosa löng og lítið spennandi gítarsóló og síðsjöundatugar stefnulaus djammsessionir. Tvær hlustanir og ég fæ út þrist.

Есть песни с очень интересным звучанием, но в некоторых треках группа явно перемудрила, на мой взгляд, поэтому лишь 6,5 из 10.

A window to a different era, of big bands and big productions. Could come over as bombastic and schmaltzy but somehow just sounds pretty awesome and fun instead. Somewhere between soul, jazz, funk, and hippie rock - with a rhythm section tighter than two coats of paint. Strays at times into prog excess but still quite cool.

Too much 'other stuff'

man the 60s had some damn good music. even the experimental shit is good

I really liked this. Even the whiny guitar parts. Reminded me a lot of Savoy Brown, not what I expected.

Solid listen, I find Chicago's music fun (with the exception of "Free Form Guitar"), and "Does Anybody Really Know What Time It Is?" is a classic.

I fear I must once again use the sentence: Decent version of what it is but ultimately just not my bag. P. much every track starts strong but then outstays its welcome that bit too long, its saved by some prominent funky bass tho. Bluesy in places, might have to find the tabs. And the brass is a fun touch tbf. Respect the brass. Didn't actually hate the guitar rumbling track that everyone is banging on about in the reviews. Like idk fair enough. Actually I'm enjoying bits of it enough that I should probably see if there's radio edits I feel like that could fix my issues. Like i loved the first half of I'm A Man it just has no need to be eight minutes long. Like prologue and someday? Excellent. 4 minutes long. Good tracks. Why am I now listening to a fourteen minuter. No-one wants this. Actually the back 5 minutes rocks. That is a banger of an album closer I can't lie. Hm hard to rate . Ideally a 3.5 but I can't do that.

Ok

Wow! What a surprise this album was! I had written off Chicago as purveyors of inane AM soft rock, and never would have chosen to listen to this record on my own. Jazz influences abound and the technical prowess of the band shines here. I was particularly impressed with the rhythm section as they have it on lock for much of the album. Some nice sizzly guitar tones ride on top of it all. There are a couple of cheese moments in there, but maybe that is just the passage of time.

Introduction // Does Anybody Really Know What Time It Is? // Beginnings // Questions 67 and 68 // I’m a Man // 4.5/5

This goes pretty hard, and was a pleasant surprise when I was expecting the treacle of Chicago's later work. I rode the L Train in 2023, and it didn't sound half as cool as this (I would wager I was about 50 years late).

I thought it was fun to listen to, I liked the horns and how they jammed. I don't love that every song was like 10 minutes long. Favorite was "beginnings" because it's fun to do the oOoOoOhhh

Lots of horns, extended drum solos, lots of noodling. I had a pretty good time with this one. I could have done without freeform guitar. South California purples was cool, felt like an homage to a couple of different songs and styles and I think it worked pretty well - plus I love a zesty drum fill

Dad- 8 Mom- 10 Mike- 8 Lori- 8 Michael- 8 Miles- 8 Cole- 8.5 Avg- 8.36

conflicting feelings on this mixed bag album

• 3/5 • pretty much the only Chicago album I like - so much better than the insipid ballady schmaltz that came after • they own their sound and do it really well, but the length and self-indulgence is trying

a certified banger or two and I generally like a lot but have to ding for several tracks of absolute garbage

Seems like a weird collection of songs, like none of them go together.

Track 7 weirdness and that track 8 guitar tone

Lots of skill but I really didn’t enjoy it. The repetitive groove in Poem 58 made me want to chop my ears off. It’s followed by Free Form Guitar, which was even more painful. I guess I just don’t like this.

A pretty epic album overall, though a bit too show-offy in some places. I'll likely skip Free Form Guitar entirely when I listen again.

Why? Why ruin so badly what was a perfectly pleasant album with that? I'm confused and annoyed.

Groovy and it rocks

right out the gate with the horn section, hell yeah. It feels like a Saturday night in the late 60's or early 70's in New York (or more accurately Chicago) or something like that. I'll admit, the horns do kinda play a bit too much, but as someone who's never heard a single Chicago album, I dont really care. This whole listen was pretty fun. My only real knock against it is the runtime, it gets to be a bit much, especially the final track being 14 minutes. Either way, its a good experience and I'm glad I got to hear some new music.

Love Chicago, this album is great! Some of the songs overstay their welcome a bit and the horns can be a bit much but what do you expect when you put on a Chicago record?!?

every song does not need to be fifteen minutes

not bad, vibe like the artist name suggests

WE LOVE CHICAGO

This was released in April of 1969 and I have a memory of being at a buddy’s house at a pool party in Spokane (we moved to Illinois in August) and someone had this playing on an 8-track player. Oh, if this could be a single album! It starts out with 5 killer tracks and then things get spotty after that. Terry Kath is a very underrated guitarist but Free Form Guitar is kinda painful. Poem 58 is so-so. South California Purples is great, Someday is just Ok. Closing track Liberation is 14 minutes too long. All the early Chicago albums were released in quadrophonic when they first came out, and there have been other releases in 5.1 or 7.1 since (Chicago II will have a new 7.1 remix, coming out on 5/23). This one in the original quad is a very nice mix, typical of the early days of quad, with intriguing things coming out of all 4 speakers. Special shoutout to their bizarrely different cover version of the Spencer David Group’s “I’m a Man”, as weird and wonderful a choice as Yes doing Simon & Garfunkel’s “America”.

Here’s the give and take of Chicago: I really liked the horns on the first song. I was into that song almost from the jump. Then there was, like, a three-minute instrumental break in the middle of the song. When they’re doing pop, I think I really like them. When they’re doing jazz, I’m way less into it. Oh here’s another one: Poem 58. Were there lyrics before about 5 minutes into this? I zoned out and now I like the last 3 minutes. This is probably a 3.5, but closer to a 3. A 3.49 album? Anyway, 3 it is.

Surprisingly interesting

Pretty cool in places, and far too wishy washy experimental for me in others. A very mixed bag.

Wow! Amazing discovery. This IS A RECORD.

Just one big jam session with a couple of familiar songs sprinkled in.

Pretty cool. Nice judicious use of waawaa peddles. Funky in some parts.

Not a huge fan of this one, I was excited to listen to chicago as I remember seeing their logo everywhere when growing up. But I didn't find anything interesting to me in this album. I'll revisit it later and see if I wasn't paying attention

Really good album. Feel good stuff, with some bizarre guitar and drum solo breaks.

While I totally appreciate the scope of the arrangements, music from this time period can feel exhausting. Best tracks are Does Anybody Really Know What Time It Is, and I’m a Man. Those are classics.

These guys are doing some pretty innovative stuff for 1969, especially on the guitar. I would take this guy over Clapton (massively overrated) any day. Not everything here is that crazy though, some of the songs feel very of the time, but then they will hit you with some crazy passage that sounds like it could have come from the Windmill Scene in the UK. Also shout out to Free Form Guitar. Mid 4.

Really liked it, gives a great mix of positive vibes like in "does anybody really know what time it is" but with a mix of deeper tracks like in someday. Great to listen to!

Some solid tracks, but some are kind of odd. Decent listen.

Yeah, count me among those who had dismissed this band largely due to their reputation as 70s easy-listening soft-rock elevator music. This is actually pretty good although I'm sure it was all downhill from here!

3/5

1 stern

I had never listened to Chicago before in the context of an album - and the it's a good deal weirder and more interesting than I expected.

I hate Chicago and this is a bloated pretentious album.

So before they were a soft-rock behemoth, Chicago was a tedious, meandering blues band. Got it.

Not really my thing but not entirely a wasted listen. Interesting in parts

Really good. I don't know that I would revisit it on my own. But definitely enjoyed

Classy

Free form guitar is just them trying to find the dire straights microwave intro settings lmao Beginnings is such a jam. I want to play it on a street corner. I'm a Man drums are nasty gotdayum

i love this album, even Free Form Guitar, which is so unapologetically absurd that i can't help but find it charming. it's such a fun album. makes me feel like a big man traveling in a big city, chicago perhaps. + Does Anyone Really Know What Time It Is?

E tako već može 😊 vrhunski album, dinamičan, svestran, u duhu vremena. Apsolutno zasluženo mjesto tu! 4/5, 8/10!

It was fine, but I kind of got tired of it.

Great guitar and vocals. Jimmy Hendrixesque.

Nice bit of jazz

77/100. Chicago Transit Authority by Chicago is a great debut record and a strong entry in the jazz rock genre. The album is packed with tight riffs, solid production, and a unique blend of rock energy and brass-driven arrangements. It’s a confident and well-crafted start that laid the foundation for the band’s long career.

Major headache. Never again!

chicago transit authority, a ragtag group of engineers, conductors, and bureaucrats, would go on to become the entire city of chicago, illinois, and while their poverty, wealth inequality, and gun violence rates continue to rise, their debut record remains one of the most widely acclaimed big band rock albums of all time. it's pretty good if you're into wind tunnels and deep dish pizza. questions 67 and 68? absolute banger. my dogs got upset about free form guitar but that's ok they just didnt get it. the worst song on the album is a semi-important civil rights anthem that kinda falls flat because they're all white and it's the most boring track musically. overall, liked it but not really my thing. 4/5 the chrysler building is beautiful at night, visit during the warm season

This band is tight af - some sick horn passages Easy listening, but a little cheesy for me! Would much much rather listen to EWF in place of this, or even AWB if the band has to be white Listen, Poem 58 are both great

There are parts of this that slap and there are parts of this that are so boring I wanted to quit. Questions 67 and 68, a slap. Free Form Guitar, legitimate torture material. The skill of the group is undeniable, Terry Kath is absolutely one of the greatest guitar players to ever live, but the songs ain't really doing it for me. This is the most 3 star rating I can give.

This album slowly got much better for me. I thought it started kinda slow and unoriginal, but then it really picked up with heavy guitar tones and the songs got much more interesting. I wasn't super excited to listen to this because of how long it is, but I actually think the length of the album is appropriate. Bass is phat, guitar is muffy, drums are loose, horns are tight. My first impressions were: this sounds like every other wedding band My lasting impressions are: this band can jam Also, Free Form Guitar must have slipped through the cracks of the rest of the band. That shit was hilarious to me. Favorite songs: Beginnings, Poem 58, South California Purples, Liberation Healthy 3

The introduction kills and then up until the last 1/4 of the record it’s so good EXCEPT free form guitar is a pile of dogshit that completely took me out of enjoying the record. There’s something about a fat, mid-heavy bass line that I love and it’s all over this record. Throw in some hype horn hits and this band is such a good concept. I feel like they kinda get overlooked now - especially with how many records they sold over the course of like 30 years. The last 1/4 of the record is just a big ass jam that never ends, not bad but idk why they included it. With a couple cuts I think this is at or close to a 5/5 but there’s not a chance I can go higher than a strong 3/5 with free form guitar on the track list.

I wrote a longer review earlier, but I restarted my computer and lost it and I don't care enough about this album to rewrite it. Blah blah boring blah blah free form guitar is weird and sucks blah blah 2 out of 5.

I’d often heard about this band’s legendary horn section, but every time I’d hear one of their songs it was from the crappy, sappy, Peter Cetera time period. I’m actually impressed by this that the legends were true!

So many greatest hits songs on this album I can forgive “Free Form Guitar.” Amazing horns!

I was looking forward to listening to this one and I'm not disappointed. Fun music overall. Love the horns being front and center. 3.5* rounding up to 4.

A solid, clearly Hendrix-inspired rock album. Way more interesting than a lot of stuff I've heard come out of the late 60s/early 70s. Enjoyed this quite a lot!

Overall a good album. I always liked 70's Chicago, but not really 80's Chicago, and this album is a good introduction into the good version of Chicago.

Not for me. Free Form Guitar is an apt track name and an utterly shite concept.

Felt like an hour and a half jam sesh. Free Form Guitar didn’t help. Highlights: Honestly, nothing really stood out. It was all very samey.

There's some really good stuff on here, but let down by seven minutes of screeching guitars in the middle for no reason.

Liked some elements of this much more than others, like the big-band funk-jazz stuff hits a lot harder than the guitar interludes etc. I think overall it’s the kind of music I’d enjoy seeing live a lot better than recorded.

Really enjoyed the rock jazz fusion. Some of the instrumental bits went on a bit too long, but that's just me and my antipathy towards jazz. Will be relistening.

Highlights: Saturday In The Park, Beginnings, I'm A Man. In a nutshell: all together now. Before studio micromanagers Steely Dan took over the airwaves, Chicago was the easily identifiable jazz rock (at its roots) outfit. This kind of album would be tricky to pull off as a live take or even in its individual parts, to produce a quality album. The energy and skill of the musicians, specifically the drummer and horn players, are bewildering. It's intended to be an album you sit down and actively listen to. It's not background music. Which can be a good thing. Not perfect, but still good. Overall: 6/10

What gave Chicago the courage to release a somewhat meandering double album as their FIRST? My theory is that they were inspired the White Album. And perhaps this album should be viewed in that light, although in many ways it's more like George Harrison's "All Things Must Pass," with its more consistent song style combined with some long jam sessions. This album surprised me. It wasn't the soft rock that I expected, and it also didn't stay anchored to the jazz pop/rock sound that started the album. You have to get past the first few (long) songs to hear the variety, and it was around the song "Listen" that I began to actually WANT to listen. Now I'll have to listen again. So surprised. Which is the best experience you can have when listening to these 1001 albums.

I have a great deal of respect for large bands. Whether it be classical orchestra, jazz bands, or even larger rock bands, there is something magical about talented musicians feeding off one another to create vital, transformative, infectious compositions or improvisations performances. I have been looking forward to this album for the express purpose of witnessing greatness (years ago, I had a Chicago greatest hits tape that had me somewhat prepared). And in many ways, the band and the album delivers. The big band sound is beautiful and it works for the most part. But I felt that they had trouble sustaining greatness on the album. It's as if the band itself doesn't believe their work is sustainable. But instead of working to convince me of their value, they give us "Free Form Guitar." an inexplicably lengthy and tedious affair. All in all, I just started losing enthusiasm by the note. Sadly, I am convinced that though this band is super talented and generates the occasional hit, it proves tedious.

Hoppin'! The band learning to be tight. Weird album: absolute bangers followed by eight-minute intolerable "free-form" guitar pieces. Loses steam as it goes, but you can hear that these guys are skilled as hell and having fun. Maybe they'll make a few more of these.

Great album that I'm not really a fan of? A few real bright spots and I do love the interlude tracks.

Great album. The horns are tight and the album is bumping. The psychedelic guitar jam was a little long but the rest was great

OK, there's a lot to hate here. That guitar track sounds like some corporate dudes listened to Pere Ubu once and cut this track in a single take and then went out to an expensive cafe to celebrate over Michelob Light and sandwiches. But no. My biggest complaint is with Does Anyone Really Know What Time it Is. I knew this song. I remember that particluar line from the chorus and the "I. WAS. WALK. ING. DOWN. THE. STREET. ONE. DAY" line and thought it was catchy enough. On a closer listen, this song sucks. First of all, much like the Fran Drescher film, "Beauty and the Beautician," it is pretty obvious that they came up with the title and then started writing the piece around it. The little narratives to get up to the chorus are super conttrived, and I don't know if I've heard a pair of lines as bloated as "A man came up to me and asked me / what the time was that was on my watch." Come on. That's like the moment in that terrible M. Night Shamalan movie about how the environment starts killing everyone and someone is on a train and asks "Is this the train to Princeton, New Jersey?" No human would ever ask that question that way. And the actual lyric in this song should be "A man came up and asked me what time it was." I had to restart the song to make sure that I heard how bad that line actually was. Then the chorus. OK, sure, I'll grant the double meaning here in the title question. Not mind blowing, but it's pop music, so I check my expectations a little, and this line works on its own. But the possible depth they find here is just annihilated by the backing singers blurting "I! DON'T! CARE! ABOUT! TIME!" in the background, like the song can't trust its own listeners with nuance. An interesting contemplation about time is to be found in "Who Knows Where the Time Goes" by Fairport Convention on this project. This song, however, is just some smug boomer thinking he's clever. Oh, and then it gets saccharine for no reason with that final line about "We all have time enough to CRY" or whatever. Yeah. true. Sometimes things are sad and time exists. And hold on to your hats, poets, but the final chorus changes CRY to DIE. Oh my god that's so deep. Also, this feels like it's now a mixed message. Time is elusive and I can transcend those other people who feel bound by its artificial constraints and... we're all going to die. Huh? I gave this album a second star because some of the extended instrumental parts were actually sort of fun. But this album managed to provide TWO of my least favorite single moments of this entire project so far, and I'm in the homestretch.

52/1001 - Started cool but got long-winded and same-y the longer it went on. With the exception of the free-form guitar song (I don't have an opinion on it. You probably had to be there in the 60s amongst all the counter-culture and psychadelia stuff to see this as something cool or worthwhile I'm guessing).

Great cover of 'I'm a Man'!

Excellent Album!

Is thisA really write rock album - yes Is free form guitars a bit too much - yes Did I like this album - hell yes!!!

Amé el album, los espacios instrumentales, el como cada instrumento resalta y tiene su tiempo.

I’ve never really listened to Chicago before. It didn’t grab me.

OMG this goes on longer than the paleolithic era. The music is pretty prehistoric too: a late sixties jam band except there are horns and everything goes on four times as long as it needs to. When I learned that Peter Cetera was in the band, responsible for some very deep eighties musical crimes, its fate as a one was sealed.

I enjoyed this a lot more than I would've expected. A bit too long and bloated at times nonetheless.

Unstrukturiertes Jazz und Bigband geklimpert ohne angenehme Passagen. Als Hotelbar Sound ok aber nicht wirklich gut.

more psychadelic than i remember

I liked this and not only for the family connection to Chicago. This is like several kinds of music I enjoy all smooshed into one sound, and somehow it works.

Het Wikipedia stuk heeft het over een rock album, maar eigenlijk voelt dit vooral als een jazz en funk album aan tot nummer 4 ongeveer. Ja eerlijk, dit funkt echt heel hard! Kende deze band niet maar dit voelt als een funky, jazzy rocky hybrid en ik ga daar best wel goed op tot nu toe. Wel benieuwd of dit aanhoudt, want het album duurt ruim een uur. He godverdomme.. Free form guitar is dan weer echt een bak herrie... Niet om aan te horen dit. Duurt ook rustig bijna 7 minuten. Ik ken een Duits concept album waar dit niet op had misstaan. En het frustrerende is dat ik de muziek opp dat Duitse noiserock concept album beter vond dan Free Form guitar, daar is echt niet doorheen te komen. Krijg je gewoon een hele ster aftrek van, donder op. Zucht.. Waarom zijn er zoveel albums die als laatste nummer een of andere draak doen van ruim een kwartier? Als het werkt vond ik dit oprecht een prettig wegluisterend album, maar uiteindelijk duurt dit me toch weer een beetje te lang. Vermakelijk, leuk ook die blazers maar het album had prima een stuk korter kunnen zijn en dan nog net zo goed. FAVO: Introduction, Does anybody really know what time it is?, Listen, Im a man

Bien

Ugh! Hate this band. Hated them then, gave them a fresh listen and I totally dislike their sound now - right up there with BS&T and Herb Alpert.

Most songs feel 5mins longer than they need to be

1969. US. Debut album. Jazz rock, progressive rock, blues rock. !!!

Kind of surprised by this. Much more jazz influenced than I would have thought. Some of the instrumentals were a bit strange, but overall the album was better than anticipated. 3/5 Might listen again

1/5 just couldn't get into it

Pretty good

I love Chicago, but not this album.

Fun but too much

Questions 67 and 68 made me transcend. The rest of the album is a mix of "holy fuck these musicians are so talented" and "alright guys let's wrap it up"

Agree with Dom, Questions 67 and 68 was quite poggers, but the rest of the album was just ok

Big band rock n roll. Some classics. Some awesome sections. A lot of long drawn out times which I suppose is necessary when there are like 12 band members.

Ok. But just ok.

the first half of this album is simply outstanding. 5 songs in and i thought it was going to be an easy 5 stars. but Free Form Guitar and onward loses a little bit of steam and direction unfortunately. it’s not even a bad second half - but it almost sounds like a completely different album which is unfortunate when the first half was SO good. so the first half is an easy 5 but the second half is probably a high 3 so we’ll land on a solid 4

Good album. Amazing the way they combine traditional rock instruments with the horn section. I’m not sure if they were the first to do this, but I don’t think anyone has ever done it the way they did. The only thing I did not care for was the more experimental songs.

The A-side was really what I expected to hear, where the B-side was totally unexpected. Didn’t know any of the tracks even though I'm sure I’ve heard at least some. 3.5/5

Enjoyed this much more than I expected. Changes my view on Chicago. Not necessarily going to go down as a new favorite, but enjoyable nonetheless. Also hot take, if Free Form Guitar was on say, a Van Halen album, or another band known for guitar wankery, it wouldn’t get as much hate as it gets on here. But yeah, 7 mins of that is much too long.

I once had a discussion with a composer about doing the full rock band thing and what model would you use? Myself, I said, I’d use Jethro Tull. He said he’d use Chicago because of the horns. And listening to this I can see why. The songs are lyrically different but musically solid. After the death of Terry Kath, Peter Cetera would take the band in a much more mainstream direction. But this is a good album. 3.5

Sigh. This is what happens when young white men have too many music lessons and start to think of themselves as real 'musos'. they all like to think they can play jazz, which is really just an excuse to show off the chops they have acquired., but it does tend towards self-indulgence. A tendency towards lengthy improvisation and a liberal sprinkling of fancy jazz chords does not a jazz band make. And, ironically, the hard-earned technical skills tend to wash the urgency out of their attempts at rock and roll (the roll is typically in very short supply). Chicago are an early and, unfortunately, commercially successful example of this tendency to 'professional musicianship' that makes so much 'rock' music of the 1970s so un-fucking-listenable. I mean, really, this album (mostly) sounds like the house band for an early 1970s TV variety show. This is not _that_ different from a James Last record when they 'rock' out (proof point; just take a listen to their cover of Hawkwind's Silver Machine: https://youtu.be/gF2ODWluPlY?si=6eiMKA6tA0MbhJGC). I can hear that Terry Kath was clearly influenced by Jimi Hendrix (Free Form Guitar, anyone?), but his highly competent playing doesn't have the excitement of Jimi. And personally, I find Walt Parazaider's oft repeated anecdote that Jimi once told him that "your guitar player is better than me" frankly offensive. I cannot believe that ever happened. God only knows what possessed them to release a double album. But if you trimmed all of the fat off this record (i.e. at least half of it), there might be a passable rock album hidden in there. But it is just a fair copy of actual exciting bands that were playing at the time. Hendrix and Traffic are the obvious influences, but I'll leave identifying others influences as an exercise for the reader. It came as no surprise that this was produced by James Guerico, who was also responsible for Blood, Sweat and Tears' second album. I constantly confuse those two bands, as they are cut from the same cloth. It is boring dross. And this album doesn't even have '25 or 6 to 4' on it, so beloved of school brass bands. I would much rather listen to a ropey school band roughly blast their way through '25 or 6 to 4' than endure the glossed up, over-polished, under-sexed, watered-down, professionalized wallpaper music of Chicago Transit Authority. And the worst of it is that it sold! It was not just "sterile and stupid" (to quote Robert Christgau), but they convinced major record labels that this is what we wanted to listen. It fostered decades of further pap, not only the 30-odd records Chicago subsequently released (including a 4-LP live boxset, god help me), but countless other bands of professional musicians who thought that could release commercially appealing supposed 'rock' albums that also showed off their chops. Toto and Journey and Asia and Kansas and the Alan Parsons Project and Steely Dan and the whole yacht rock genre and so, so many other terrible bands. Chicago Transit Authority is a malign cancer that metastasized across the music industry. It is neither rock nor jazz. It is lukewarm, and I spit it out of my mouth. 1.5 stars, rounding down for the terrible influence. I think I have some hand-me-down Chicago albums in my collection. I think I need to pull them off the shelf and file in the bin.

Except for 1 song that really felt both too long and too chaotic, this was a fun album. I noticed there weren't any of the hits I know them for. Still, I enjoyed listening! Great instrumentals and vocal work. 'Questions 67 and 68' was my fave from the lot.

My wife came into the room when Free Form Guitar was on and asked what this crap was.....

enjoyable enough, i guess

This has a lot of the elements of things I like, but it just doesn't come together into something that I enjoyed listening to. I think partly it's the horns, vocals, piano and guitar all fighting over the same couple of octaves and partly that the tracks are all a bit too long. I was very surprised to see this came out in 1969 though.

Wokal jest bardzo przyjemny. Ale reszta? Dlaczego wrzucili tu Free form guitar?! 7 minut cierpienia?! Po co? Za jakie grzechy? I cała płyta taka była… jakby nie wiedziała, czym chce być. W jaką stronę iść. Kompletny chaos i to nie w dobrym tego słowa znaczeniu. 5/10 na zachętę, bo to ich pierwszy album.

These guys loved trains and numbers. How many of them do you think would be on the spectrum today?

Jazz, funk, soul. Horns. Terry Kath's guitar. Standout playing across all the instruments and high energy extended jams. Man I love these horns.

"Chicago Transit Authority" is the debut album (and a double one at that) by American rock band Chicago. The band's name was Chicago Transit Authority at the time of the album's release but they had to change for legal purposes. The Wiki-listed genres are jazz rock, progressive rock and blues rock and a decent simple description of their music is "fusing brass and jazz with a soulful rock and roll feel." Producer James William Guercio was able to help get the band signed to CBS even though the label had what what they thought was a similar band in Blood, Sweat and Tears. The bandmembers included Peter Cetera (lead/backing vocals, bass), Terry Kath (guitars, lead/backing vocals), Robert Lamm (keyboards, lead/backing vocals), Lee Loghnane (trumpet, claves, backing vocals), James Pankow (trombone, cowbell), Walter Parazaider (sax, tambourine, backing vocals) and Danny Seraphine (drums, percussion). Commercially, the album hit #17 in the US and #9 in the UK. The album opens with "Introduction" showcasing the band. Dominant horns. Psychedelic keyboards. Kath's gritty vocals and piercing guitar. Interesting speed and time changes. Jazzy and proggy. It's Robert Lamm's vocal turn on "Does Anyone Really Know What Time It Is?" A piano intro going to the horns and drums. Lamm talking to multiple people on the street and a comment on the rush of society. Strumming guitars, gives way to bass, drums and horns in "Beginnings." Lamm with soulful vocals and inspired by a Richie Havens' performance. Trumpet and trombone solos. Peter Cetera and Lamm take the co-lead vocals on "Questions 67 and 68." A lovely horn and lengthy guitar solo intro. Horns carry most the song until Kath's guitar finishes it. It's a song Lamm said was about a girl he knew with a hint of acid imagery and Beatles' inspiration. Well, it is 1969. Side three focuses on Kath's guitar and the blues. "Free Form Guitar" is a 7-minute Terry Kath guitar solo. Feedback, distortion and at times it sounds like an explosion. I can see why Jimi Hendrix was a huge fan. The band covers the Spencer Davis Group's "I'm a Man." All three lead singers take turns. They add a cowbell and tambourine. Some more hammering guitar. Seraphine with a drum solo. Kath's guitar soars again on the 14-minute closer "Liberation." A fast start. All the instruments are going here but it's Kath's piercing and wah-wah guitar that stands out. There's no doubt this band has a unique sound with its prominent horns, complex drumming, multiple vocalists and guitar. The music digs into jazz, prog, rock and blues. The first half of the album was dominated by the horns, into more jazz and prog and had the released singles. The second album half is bluesy and guitar focused. Kath's guitar is just incredible - explosive, incendiary and, yes, at times self-indulgent. The three lead vocalist are all different: Lamm-soulful, Kath-gritty and Cetera-higher tenor. Is this album too long, some songs too long and should it have been trimmed a bit? Sure, but, in this case, I'd rather hear more of the musicianship than less. I find this to be a great album and worth a listen if just for the hit singles.

Not so sure about this... felt way too long, and it was a bit all over the place. There were a few good songs like 'Beginnings', 'South California Purples' to name a few. But then there were also a few tracks which were mostly or completely instrumental that just sets the album in the wrong direction to me, with way too long guitar solos that are not that great. 'Free Form Guitar' for example was a really crappy song, and 'Poem' is just waay to long and uninteresting to make up for it. In summary it was a decent album, and they had some cool riffs going on in places. Might return to it in the future, we'll see. Reminded me quite a lof of the Eagles actually. Will have to be a 3 star for now.

Was expecting soft rock but got prog instead. Not a big fan of prog rock in general. Maybe i should'e expected Chicago to have a proggier side since "25 or 6 to 4" is a bit more progressive rock and my favourite Chicago tune. Sadly not on this record. This album had some pretty low lows (looking at you 7 min guitar noise track). The highs weren't all that great but there were good riffs here and there. "Listen" comes to mind as a good track (also one of the shorter ones). As in general with prog rock i just which they were cut down a lot, this one included. Weak 3.

Oh, I really don't like this kind of noodly-doodly jazz-rock. This is truly horrible. I never want to hear this album again.

I like Chicago. They're super talented - but this is a bit self-indulgent for me. Any album that has a 7-minute long song title "Free Form Guitar" is going to get on my nerves a little bit.

Not really my cup of tea

I was already familiar with Chicago from my youth. However, I didn't really know their music and was confused because I expected something different when I heard an album by them. I find this album remarkable. You don't hear much of the later Softrock here. Because of the brass, which is unusual for a rock band even now, some tracks sound jazzy or funky. I like that. The long guitar solo in Free From Guitar is extraordinary. It reminds me of psychedelic experiments by other bands, but it's also a bit exhausting. Overall, I quite like the album. 4/5

Thought experiment: how good would Chicago have been if they had at least one black person in the band? It’s almost as if there are actual benefits to DEI… The highs are high, and it’s almost a great album, even as long as it is. Some stuff doesn’t work (I think “Free Form Guitar” is good, but it’s hard to argue that it belongs on this album). A good double that would have made a great single.

Straight mid. Love “I’m A Man” and “Does Anybody Really Know What Time It Is?” (s/o NJ 101.5 as mentioned 😂) but unlikely to be something I revisit regularly

Gimme gimme gimme. I am apparently a goober for bluesy rock.

My kind of noodling

Really didn’t like the bluesy stuff much at all, but I like Questions 67 and 68 a lot

Ok but not my vibe

It started off so well and then became way too self indulgent for me

I liked the music and songs, but I didn't really understand it as an album. It felt a bit long and not cohesive.

Lasted 4 minutes into introduction.

Err, no

Yuck what's this muck can't stand it Yuck

It was interesting enough, free form guitar is some fuckery that didn't deserve to be there, I will always disapprove of "songs" that are just people fucking around with instruments. Save that shit for practice time. Skipping that, the rest was enjoyable. 3* (-1 for free form guitar)

This is the kind of album I'm really glad to receive on this project, because there's just no way I would ever listen to it otherwise, let alone even be aware of its existence. It's not the kind of thing I gravitate towards, but I do really admire the ambition, and the amount of stuff they chuck at it. The musicianship is really on-point. I like the down and dirty guitar (except when it goes on in extended periods, and definitely not in 'free form guitar'). There's tons of brass in here which I really like, and it's so unapologetically upbeat for most of it. I'm also quite impressed at how varied this album is, and the amount of different things they try, successful or not. It definitely doesn't feel like 'one thing'. 3.5 rounded up.

Im a huge fan of Peter Cetera sung power ballads but this version of Chicago is like the house band at locals’ favorite Italian restaurant in the suburbs.

A jazz rock album. It was okay. 2 out of 5.

I found it rather rudimentary for the most part and Free Form Guitar was a pointless addition. I particularly enjoyed Poem 58 and South California Purples, otherwise nothing really stood out. It’s not really what I associate with Chicago.

With no compromises on track lengths or indeed commercialisation (see Free Form Guitar), Chicago made their debut in ‘69 with a sizeable punch, given their year-mates’ competition. Bookended by instrumental brilliance CTA is then comprised of a filling made of shorter listener-friendly tracks, yes, like Listen, and seven-minute-plus odysseys of guitar, not just by way of crazy experimentation but by way of expanded-length tracks like South Carolina Purples, the spatial tones you’d probably expect to hear on a live album, not a debut studio one. Classic rock, jazz-infused expansive rock, snappy radio-friendly bites, spoken word? What’s not to love? I don’t mind, I don’t mind.

8/10

What a load of dreadful nonsense, in which sits one absolutely stonking song. Seriously, Questions 67 and 68 is like one of the best Wings-style songs you can imagine, and yet it sits next to the worst prog/jazz/rock fusion you could ever find. Someone should have put a stop to this.

The guitar solo song knocked this down to a 2 as it was the worst song out of all these albums combined. The rest of the album is nice and I liked the jazzy, big band feel for a rock album but the guitar solo really ruined it for me.

Awful

This is the first album I didn’t even get all the way through. Too jazzy for me.

Okay, I can definitely see this not being for everyone, and most tracks go on for waaay longer than they need to, but this is... kinda great? I don't know what my expectations of Chicago were going into this album, but I wasn't expecting this level of jazz-funk to hit me so hard - definitely going to have to come back to this later!

Meestal gooit dit soort funky jarenzeventigmuziek wel hoge ogen hier, maar deze plaat wil maar niet echt gaan boeien. Ook hier is een dubbelalbum uitgebracht terwijl ze beter de helft hadden kunnen schrappen. De deuntjes gaan maar door en een overbodig potje raggen op de gitaar (kennelijk moest de plaat nog even snel volgespeeld worden met iets willekeurigs) is het dieptepunt. De leukere stukjes (blazers, zang) redden de boel nog enigzins.

Dit album begeleidt het administratieve werk van vandaag prima. Het begint wat rustig. Wat ouderwets zelfs, wellicht door het blaaswerk. Het bouwt op naar meer power. Vanaf Listen begint het voor mij echt interessant te worden. De opbouw gaat verder, zelfs richting neurotisch werk aan het eind. Naast het blaaswerk komen ook de andere instrumenten komen goed tot hun recht en als er gezongen wordt, is da zang vaak een aanvullend instrument. Mooi als alles samenvalt. Maar waarom zit er nu halverwege bijna 7 minuten amuzikaal gitaargeluid tussen? Het haalt je zo uit het album. Zonde.

De muziek is heerlijk. Fijne 60s bluesrock n roll, wat flowers in your hair. Ze doen bijna alles goed wat ik graag in muziek wil zien. Gitaarsolo's alsof Lynyrd Skynyrd aan het spelen is. Het complete orkest aan toeters stoort me geen seconde. Een piano of orgel komt er soms voor in de plaats. De zang is prachtig als de Eagles in hun beste dagen, ook met mooie harmonieën. Het kan eigenlijk niet op, want ze beheersen alle facetten. Alleen hebben ze af en toe de neiging om de muziek aan te vullen met geluid. Zoals Free Form Guitar. Net als bij de Allman Brothers haak ik dan wel af. Schrap een half uur van die instrumentale onzin en je hebt een waanzinnige plaat. Dat kost ze gewoon de 5e ster.

This was a perfect album until they let Throbbing Gristle sit in for a track. Fuck it, 5 stars anyway

This one's a bit all over the place. Some tracks hit hard with those horns and punchy rhythms. Others feel like the band forgot to end the song and just kept noodling around. You can hear the prog rock influence, especially in the longer tracks. It’s not bad, but you need some patience. Luckily, the radio-friendly songs help break things up. They're tight, catchy, and show why Chicago got so big. Favorite Song: I'm a Man Least Favorite Song: Liberation

I detested this. Self-indulgent, most songs are cheesy and boring to start with, then go about 2-3 minutes longer than they should.

Hmmm. I think I was disappointed by this. I was expecting more from big name band Chicago and I didn’t see anything super special. Sure it was okay but just expected more.

This album is the shit. All over the map (directionless...maybe. But come on....can you imagine a debut like this today? You cannot. go listen to Lou Reed ya cretins) and literally as far from this band's later hit making bullshit as possible. Jazz...prog...pop... where does it fit, who knows/cares. Incredible musicianship (esp. Terry Kath and Robert Lamm on guitar and keys respectively) and arrangement. Plus it sounds fantastic. Negatives.... it definitely gets a little long in the tooth and some of the extended jams are....too extended. Kath was great and I'm a guitarist but "Free-Form Guitar" is....um.... stupid. So yes the album could maybe have been shorter overall but sometimes (e.g. White Album) the misfires or reaches (or bombs....rhe aforementioned guitar track being the Revolution #9 of this double album) end up getting you the all-time gems. The singles are the best tunes here but it's still a keeper overall. Classic. 8/10 4 stars.

What a lovely surprise

Meh... Also wtf was that free form guitar track?!

Katy is king!

it was good until the Free form guitar

Funk, rock, horns and a whole lot of fun.

Today I decided to enter this Album with an open mind. Inspired from a reddit post I listened the first couple of songs trying to understand the essence of this music. And then this part happened. If you've listened to the album, you know what I mean. Noise, literal nonoise. No thanks.

A strong reminder that old Chicago isn't new Chicago. While I grew up on 80s Chicago, it was nice to go back and revisit their beginning.

Wasn't able to finish cause of work, but I loved the instrumentation.

you can’t be serious

That was NOT what I was expecting! I was expecting the dull, safe, generic music that worked so well for them and feature daily on 'bland fm' radio stations. However, from track 1 I had to double check that I was listening to the right band! The guitar thing toward the end was completely out of place though

I enjoyed the ast sidr the most because of the jazz.

Thick with classics, right out of the gate.

I’m not a fan of Chicago by any means, but it’s kind of crazy how prolific they were/are. There’s so much going on here, and it’s only the beginning (no pun intended, I swear). Good for them!

3.75

kinda too long

I've always had a soft spot for these guys... I think they really did a great job of making psychedelic rock into something more complex, more subversive, and generally just a lot more interesting. "Does Anybody Really Know What Time It Is?" has to be one of the most classic songs of the late psychedelic era. I also think of these guys as the precursor to acts like Steely Dan, which for me is high, high praise.

My older siblings listened to this all the time. But feels so dated now

If you take out Free form guitar, and a couple other low scores, the album is quite enjoyable, even if I'm not a fan of this kind of music blend. 7/10

Not sure what to make of this one. Didn’t really grab me and think there was better music being made at that time.

Kudos to them for trying so many different genres. Shame that they failed at them all! There are parts of some songs that I liked, in particular the strong guitar work. The jazz stuff and the continued overuse of the horn section was cringey and when they seemed to be getting some good jam sessions going, it simply went on too long. I played this in the car with my wife and daughter and they both requested that we don’t listen to it on the way back! Hard to argue with that. Top track: I’m a man - a cover version, with no horns!

Thought I’d listened to this in the past, but clearly hadn’t as it wasn’t what I was expecting at all. My overriding thought was ‘ffs calm down a bit lads, and do you really need so much brass!?’. Fair play to them for being balls out experimental. However, the earlier jazzier stuff is dull and not my bag, the funk ones were OK in places, and while the more jam style numbers were theoretically up my street (with an obviously talented guitarist and bassist) the songs were so all over the place it never really hit a groove you felt they had well within their locker. All in all a bit disappointing really, with no song standing out at all (other than making me think the more recent excellent Ty Segall cover of ‘I’m a man’ may owe more to this version than the original). C-, could do better.

Chugged along nicely, preferred the rockier moments but felt like one long Jam as opposed. to different songs.

That a band would have the balls to make their debut a double-album and that the record company would allow it says a lot before you even hear a single song. The musicianship is stellar. Three lead vocalists! The horn section is tight and killer. Peter Cetera crushes it on the bass and deserves to be more recognized as a great bassist. Terry Kath is outstanding on guitar. Robert Lamm was the chief songwriter and wrote the multiple hits. Danny Seraphine is a formidable and superlative drummer. That all adds up to an awesome debut worthy of a double-album! I can't say that I liked or appreciated "Free Form Guitar" and I don't think that it belonged on the album. It was way too self-indulgent and seemed more like a noodling exercise catering to guitar geeks. That song aside, I love early Chicago (CTA-III, V-VI) and I loved this album! 4.5/5

First listen. Good.

Oof did not like this one at all. It was so tough to listen to the entire thing, each song seems to never end Rating: 1.3

Som en inkarnert Chicago hater var jeg overrasket over, at denne ikke gjorde mig mere hidsig. Det var jam shit men lød egentligt ikke dårligt. Alt for lang, ikke særligt interessant, men inoffensive

Lyder rigtig meget som nogen af de live albums vi har haft fra den æra men uden at være live (negativt). Nogen gange groovy, alt alt for langt. Måske jeg bare ikke var i humør til det.

This felt very long. It grooved a lot at times, but then the freedom guitar jazz thing came and broke my ears..

Chicago when it was still good. The album is basically a 1 hour jam session with a few live songs at the end. The band plays really well and the solo's all give plenty of time to shine. Favorites here are Poem 58 and I'm a Man, Free Form Guitar is certainly an experience too. I like Chicago II a bit more though.

Really cool! I liked the hendrix-like songs ! Face B and C were the highlights for me! 3,5 stars

I can imagine that hearing Chicago in 1969 would have been shocking. The combination of rock n roll and jazz had and maybe still has never been done since. It’s totally unique, it’s a huge sound. My issue is, how does a band’s first album become a double album. It’s too damn long 6.4/10

Great

12 songs 1 hour, 16 minutes. I've never listened to an album by Chicago. That's probably because I can't stand any song I've ever heard on the radio by Chicago. Chicago Transit Authority did little to change that. Most of this album comes across as pretentious and precious. I don't understand the popularity of this band at all. BUT. BUT there are at least 2 very, very noisy jam sessions that I dug a LOT! I'm talking noise like Eruption by Van Halen. Or Noise like Sonic Youth.- good stuff. I bet it was hated in 1968 2 stars for the noise and noise only

Only just found the "high quality" setting on Spotify, which means everything I've listened to so far has been on "low." 😬 This noticeable increase in fidelity, and the brass interludes, made this collection of fairly middling rock songs much more palatable.

## In-Depth Review of *Chicago Transit Authority* by Chicago *Chicago Transit Authority*, released in 1969, marks the debut album of the rock band Chicago, originally known as the Chicago Transit Authority. This double album is a significant work in the music landscape, blending elements of rock, jazz, and pop, and showcasing the band's innovative spirit. This review will explore the album's lyrics, music, production, themes, and influence, while also highlighting its pros and cons. ### Lyrics The lyrics of *Chicago Transit Authority* reflect a range of themes from love and existential questions to social commentary. - **Existential Inquiry**: The track "Does Anybody Really Know What Time It Is?" poses philosophical questions about time and existence, encapsulating a sense of uncertainty that resonates with listeners. The lyrics convey a feeling of disconnection and a search for meaning in everyday life. - **Love and Relationships**: Songs like "Beginnings" express romantic sentiments with an optimistic outlook on love. The lyrics emphasize new beginnings and the excitement that comes with them. - **Social Commentary**: The album also delves into political themes, particularly in "Prologue, August 29, 1968" and "Someday (August 29, 1968)", which address the protests during the Democratic National Convention in Chicago. These tracks reflect the band's awareness of social issues and their willingness to engage with them through music. Overall, the lyrics are notable for their introspective quality and ability to connect personal feelings with broader societal issues. ### Music Musically, *Chicago Transit Authority* is characterized by its fusion of rock with jazz influences. - **Instrumentation**: The album features a robust horn section that became a hallmark of Chicago's sound. Tracks like "Introduction" showcase intricate arrangements that blend brass instruments with electric guitar and keyboards. - **Diverse Genres**: The band expertly navigates various genres throughout the album. For instance, "Free Form Guitar" is an experimental piece that highlights Terry Kath's innovative guitar work, while "Questions 67 & 68" combines rock with jazz elements through its rhythmic complexity. - **Vocal Performances**: Robert Lamm's lead vocals dominate many tracks, but Terry Kath also shines as a vocalist and guitarist. His contributions add depth to songs like "Listen" and "Poem 58," where his guitar solos showcase technical prowess. The overall sound is rich and layered, reflecting the band's ambition to create a unique musical identity. ### Production The production of *Chicago Transit Authority* plays a crucial role in its impact. - **Innovative Techniques**: Produced by James William Guercio, the album employs innovative recording techniques that enhance its live feel. The use of multi-tracking allows for complex arrangements that capture the energy of the band's live performances. - **Sound Quality**: The album has been praised for its sound quality across various formats. Recent remastering efforts have further improved its clarity, allowing listeners to appreciate the nuances in instrumentation and vocal harmonies. - **Cohesion**: Despite being a double album with diverse musical styles, there is a cohesive flow throughout the tracks. Each song transitions smoothly into the next, creating an engaging listening experience. ### Themes Thematically, *Chicago Transit Authority* explores several interconnected ideas: - **Identity and Self-Discovery**: Many songs reflect a journey of self-discovery and personal growth. The notion of beginnings permeates tracks like "Beginnings" itself, suggesting an ongoing quest for understanding one's place in the world. - **Social Awareness**: The inclusion of politically charged songs indicates a commitment to addressing societal issues. This engagement with contemporary events adds depth to their artistic expression. - **Musical Experimentation**: The album embodies a spirit of experimentation that reflects the cultural climate of the late 1960s. Chicago's willingness to blend genres and push musical boundaries resonates with listeners seeking authenticity. ### Influence *Chicago Transit Authority* has had a lasting influence on both rock music and subsequent generations of musicians: - **Pioneering Sound**: The fusion of rock with jazz elements paved the way for future bands exploring similar styles. Chicago's approach influenced artists in genres ranging from progressive rock to jazz fusion. - **Cultural Impact**: The band's ability to address social issues through music resonated with audiences during a time of significant cultural change. Their willingness to engage with political themes has inspired other artists to use their platforms for social commentary. - **Legacy**: Over time, *CTA* has been recognized as one of the greatest debut albums in rock history. Its induction into the Grammy Hall of Fame underscores its importance in American music history. ### Pros and Cons #### Pros - **Musical Diversity**: The album showcases an impressive range of musical styles, appealing to fans of various genres. - **Innovative Arrangements**: The intricate horn arrangements and skilled musicianship set Chicago apart from many contemporary bands. - **Lyrical Depth**: Thought-provoking lyrics provide listeners with both personal connection and social relevance. - **Cohesive Flow**: The seamless transitions between tracks create an engaging listening experience despite its length. #### Cons - **Lengthy Tracks**: Some songs exceed typical radio play durations, which may deter casual listeners. - **Experimental Pieces**: Tracks like "Free Form Guitar" may come off as indulgent or inaccessible to those preferring more conventional song structures. - **Inconsistent Focus**: With such diverse influences, some listeners might find certain tracks less cohesive or focused than others. ### Conclusion *Chicago Transit Authority* stands as a landmark debut album that captures the essence of Chicago's innovative spirit during a transformative era in music history. Its blend of rock and jazz influences, coupled with thoughtful lyrics addressing personal and societal themes, solidifies its status as a classic. While it may present challenges for some listeners due to its length and experimental nature, its strengths far outweigh these drawbacks. Ultimately, *CTA* not only showcases Chicago's musical prowess but also serves as an enduring testament to their artistic vision and cultural relevance.

Lots of fun stuff on here. Lots of weird stuff as well. Living in this era must have been bizarre. I was surprised at how much I knew and how different the stuff I didn’t was.

these guys would call the cops if you offered them a joint

The first four songs are great. Everything else is way too long. The horn arrangements are off the charts though jesus

fun songs! too long though…

In all honesty, my knowledge of Chicago is modest at best. I knew that one track that seemed to be on a VH1 loop (“If You Leave Me Now”) and remembered their penchant for Roman numerals. With that, I didn’t know what to expect when they landed as my daily album pick. It’s fair to say "Chicago Transit Authority"—a title that’s as uninspired as public transportation itself—was a revelation that skyrocketed my respect for the band. Releasing a double LP debut in 1969? That’s self-confidence on another level. At a time when rock was evolving in every direction—psychedelia, blues, proto-metal—Chicago carved out a niche by blending rock, jazz, and classical elements. The ambition is palpable, and their sound is refreshingly bold. The album opens with “Introduction,” which, as the title suggests, sets the tone perfectly. Its shifting time signatures, vibrant horns, and tight rhythm section are ambitious without being overwhelming. Lyrically, it’s more of a mission statement than a narrative song, but that’s fitting for the opener of such an audacious album. The track immediately establishes the complex musical language Chicago would continue to speak throughout the record. The momentum continues with “Does Anybody Really Know What Time It Is?” and “Beginnings.” Both tracks balance intricate jazz arrangements with irresistible pop sensibilities, but the latter stands out for its joyous build-up. “Beginnings” is particularly notable for its percussion-heavy outro, where drummer Danny Seraphine and conga player Laudir de Oliveira lock into a hypnotic groove that feels celebratory. Robert Lamm’s keyboard work provides much of the album’s harmonic depth, and his songwriting shines even at this early stage. Lamm’s ability to weave complex melodies into accessible tunes is a cornerstone of the album’s success. Horns dominate much of this album’s identity, for better or worse depending on how you feel about the instrument. Chicago leaned into their moniker as “the rock band with horns,” and here, brass and woodwinds are as integral as the guitars or drums. Tracks like “South California Purples” push the fusion further, with a bluesy backbone underscored by tight brass accents. The brass section’s tight interplay with the rhythm section creates a lush, dynamic sound that remains one of Chicago’s defining features. And then there’s Terry Kath. Wow. Just wow. His guitar work elevates everything. Kath’s mastery of the Telecaster is evident whether he’s blending in or taking the lead. His solos are as expressive as any vocalist, and his ability to adapt to the band’s eclectic style makes his contributions feel indispensable. Knowing his life was cut short only amplifies the tragedy—what more could he have done next? That said, “Free Form Guitar” is... a bit much. Clocking in at nearly seven minutes, it’s a raw, avant-garde detour where Kath wrangles distorted feedback into a chaotic soundscape. While it’s an impressive technical feat—made entirely with a guitar, amp, and no effects—it feels like a self-indulgent intermission on an otherwise cohesive album. It’s intriguing in hindsight, as the techniques Kath explored here would later influence heavier genres, but I can't help but feel this track could’ve waited for the 50th-anniversary bonus edition or something. Thankfully, that’s the album’s only real detour. “Poem 58,” which precedes it, is a far better showcase of Kath’s guitar prowess, with the rest of the band staying tightly in the pocket. The second half of the album continues in much the same spirit, with “I’m a Man” standing out as a funky, horn-driven highlight, showcasing the band’s ability to groove with tight basslines and explosive brass. The closing track, “Someday (August 29, 1968),” offers a politically charged closer, reflecting the turbulent era with lyrics about the protests at the 1968 Democratic National Convention in Chicago. Overall, "Chicago Transit Authority" is bold, ambitious, and overflowing with talent. For a debut album, it’s remarkable how fully formed their sound is. The sheer confidence and virtuosity on display make it easy to see why this album is still celebrated today. Track-by-track, "Free Form Guitar" aside, this album is nearly perfect at what it does. Did/Do I own this release? No. Does this release belong on the list? Definitely. Would this release make my personal list? I'm surprising myself by saying yes. Will I be listening to it again? Right now, this is my jam.

Fun brass and rock roll album soulful and energetic

Five for Liberation and Free Form Guitar, but I think the rest of this isn't something I'll revisit. Way, way cooler than I thought, though. I had no idea how good Chicago used to be. Noisy funk rock jazz fusion chaos, I would've never in a million years thought that from their '80s music.

I recognised some tracks on here, which surprised me. They seem pretty obscure in terms of Spotify listens. The song Questions 67 and 68 in particular has some catchy horn lines that really pop amidst some of the more "filler" tracks on here. Beginnings has a great layered acoustic guitar part which barely gets away with outweighing the bloated eight minutes of song length. I'm a big fan of the mix in I'm a Man. It's party-like, containing everything from exotic percussion and organs to chromatic movement in three-part harmonies. The guitars and percussion on this album are played skilfully in just about every track. The instrumentation choices are excellent and pretty complex for 60s music. But the filler on Chicago Transit Authority is just too glaring to ignore. Free Form Guitar gets old after less than a minute of its nearly seven minute runtime. It's jarring, hard to catch onto, and missing any catchy hooks or riffs. The "August 29" trilogy that closes out the album is passable, but could easily have been left out entirely. Liberation, in particular, is a nifty jam session but just doesn't belong on a studio album. Other songs, including South California Purples, Poem 58, and Introduction, are likeable, somewhat radio-friendly cuts that would be much stronger if they were trimmed down. In fact, bloated track length is a common theme in many of Chicago's non-hits, perhaps suggesting why the hits were so relatively popular. Save the long cuts for live performances, guys. 3/5 Key tracks: Beginnings, Questions 67 and 68, I'm a Man

Holy crap. I had no idea this was going to rock as hard as it does. Aside from basically the first three tracks on the album (and I'm a Man, which I didn't realize was Chicago) -- I hadn't heard any of this. I didn't realize that the original Chicago was the midwestern version of the Allmans. Goddamn. If you're a fan of awesome guitar work, this is so worth a listen. Terry Kath is an absolute monster -- it's no wonder that Hendrix absolutely loved the guy's playing. And Peter Cetera -- I have a visceral hatred for him because of the soft Chicago 17 stuff that was just *everywhere* when I was growing up. But the man simply crushes it on bass. The horns are earnest and nasty. "Free Form Guitar" is completely skippable unless you want your teeth to hurt. But Liberation is a 14-minute tour de force in guitar tone. Skip the one track and just let it roll. Unexpected bangers: I'm a Man, South California Purples, Liberation

Some funkiness in this one and the start of a hit machine. It’s front loaded and as a double album I definitely tired by the time side 4 came around. So not a perfect album by any means, but still has a place in history and an interesting start for one of the 70s most well known groups.

Like only 5 songs from this album. Did not like the added guitar songs. Didn’t recognize these being Chicago songs.

Quite enjoyable. I felt this was a refreshing window into a better America and a better musical world. Delightful. A re-listen album find for me.

Really enjoyed the first 3 songs and then it just dropped off a cliff for me. Sad

This album was a sweet combination of rock and what sounds like funk to me. The guitar player swaps back and forth from strong riffs to groovy beats. And the singer has real character with his singing style. Wicked

Dramatic vocals With celebratory horns And gnarly breakdowns

So weird that this is from Chicago given what they evolved into. Wasn't really feeling it at all but I actually loved Beginning, has a strong Mingus energy which I loved. Some of these are very strong (e.g. Listen, I'm a Man, Liberation). I'm feeling some of the same things I felt listening to the Allman brothers earlier this week. The solos and jamming out are very impressive and I'm glad that they've been preserved, but they don't necessarily translate as songs I'd like to hear. Free form guitar almost killed all my enjoyment of this though. Really high highs and really low lows, bringing it to a 3 overall.

Chicago is one of those bands who had a handful of great hits—I find their studio work to be quite lacking.

Free Form Guitar - теперь моя самая любимая песня на всю сраную жизнь!!

This was too jazzy and too long for my liking. When I think of Chicago, I think of them from the 80s. It was interesting listening to their older material.

Songs are usually longer than they need to be, but still cool. 3.5/5

bear witness to one of the most well-oiled machines in rock music history. these songs are often thorny and complicated, but they always feel good. keyboardist Robert Lamm dominates the songwriting and lead vocal duties on this album, so his contributions stick out the most clearly. "Beginnings", "Does Anybody Really Know What Time It Is?" and "Questions 67 and 68" are all masterstrokes that perfectly showcase Chicago's ability to balance tight playing of some difficult compositions (and some amazing work from the horn section, arranged by trombonist James Pankow) with free-wheeling exuberance; the latter really comes through when they kick out the jams on "Poem 58" and "Liberation"! Terry Kath is one of the electric guitar's most unsung heroes; his rhythm playing fits right inside Danny Seraphine and Peter Cetera's pocket, and his leads are mind-blowing. that's not to mention the strength of his pen and his lead vocals, showcased in the jaw-dropping "Introduction" to this entire double-LP! he also gets some time to drop some legitimately avant-garde noise work on his own solo track at the beginning of side C, as well as towards the end of "Liberation". allegedly, Kath was one of, if not Jimi Hendrix's favorite guitar player. well-deserved praise! light 9/10.

Très chargé, presque agressant dans son accumulation, son énergie et ses dissonances. Faut être dans le bon état d'esprit, mais bravo pour la virtuosité.

I've always enjoyed Chicago. This album is an absolute belter, the musicianship is amazing and the tracks effortlessly show that. Not a single weak track on there.

The long instrumentals aren’t that interesting to me. It’s technically impressive (not that I know how difficult it is to perform), but does not capture my interest

Another goddamned double album! They're like catnip to these critics! The guitar solo is pretty good on Introduction, and I am a fan of horn sections in general, but this is like a cross between Santana and Al Stewart. There's too much horn on some of these songs. There was a chance for Chicago to rock, Poem 58 proves it. Free Form Guitar is terrible, but I bet Eddie Van Halen listened to it and thought, I can do this but good. They changed their name from Chicago Transit Authority to Chicago because they were afraid of getting sued. Nothing but losers on both sides of that threat, god forbid they besmirch the good name of a public transit authority. On the songs without the horns, I'd have a hard time not guessing this was Santana. The guitar style, the electric piano, the general vibe are all very much of that style. The 1968 Democratic Convention chanting is so dumb. As a kid, i thought political bands stood for something. Now it all just feels like a marketing gimmick. I could see the Beastie Boys being into this album. The first half of Liberation is good but it goes off the rails at about 10 minutes, just a lot of random instrument noise. Yes, you use a lot of instruments. No you do not need to make random noises with all of them for 90 seconds. Not a strong ending for not a strong album.

I am a 42 year old geriatric millennial who grew up on grunge and emo, and maybe they’re cheesy or cringe, or maybe it’s the nostalgia of what my parents listened to, but I fucking love Chicago. Does Anybody Really Know What Time It Is is a perfect song. 10/10, no notes.

could i write poetry to this? n

This would have been much better as a single album. An entire side of the set could have been saved by simply omitting "Free Form Guitar" and "Liberation." A trimmed-down record would have highlighted the tight arrangements and excellent musicianship heard on the best tracks. Terry Kath's very Hendrix-y tone and technique would sound much better if it were restrained just a bit. This would be a three and one-half star album, but I'm gonna knock off a half-star for the utterly stupid way that Terry Kath "unalived" himself. Because of that tragic incident, we were left with the Yacht-Rock and Power Ballad version of the band that permeated the 70's and 80's. Also, Peter Cetera's solo career remains a platinum-selling stain on their legacy.

My friend, half asleep, took a phone call and agreed to help out with what he thought was a video shoot in Chicago. Turns out he accidentally agreed to go on tour with the band Chicago for like 8 months helping with the video projectors for their stage show. He hates the band. This will never not be funny to me.

I’d forgotten and had to check but I have the 7” single I’m A Man taken from this album. That also brought me back to the reason I bought it. When I was a Cadet in Wakefield back in 1970 this was a record my mates and me would constantly play on a juke box in a Wakefield pub. It had all the necessary components that young teenage lads would have liked then. Good riff, long drum solo, crunching guitars etc. it was also over 7 minutes long so good jukebox value. So good to hear this track again and whilst doing so I delved into my memory and realised that I did try to get into Chicago at that time but eventually gave up on them as they were a bit jazzy for my tastes. Whilst my indifference to jazz has now changed to an acceptance, the type of jazz I now like does to run to that which Chicago turn out. It was good to hear this album and the fact that it rekindled forgotten good time memories. 3/5 9/11/24

Great album! 4.8 so rounded up to 5.

Really great album. Great straight up rock songs, but the addition of a powerful brass section adds a cool flair to many of them.

excellent

3/5

Честно сказать, всё мимо. Лучшая песня - Questions 67 and 68.

At one point Chicago the band was not a sleazy, sultry, cringy smooth rockers to woo the middle-class spinsters, but an actually talented jazz-prog-fusion band with gut and grit, instrumental palette, song-writing chops, adventurous sound.

It’s like a horns driven jam band. Imagine if Jerry Garcia had picked up the trombone instead of a guitar. I didn’t love the long instrumentals but the rest were fine.

I liked Poem 58 and Liberation but most of the songs were not for me. The earlier tracks sounded like the outro music for 70s sit-coms and some of the later ones were a bit self-indulgent.

La puta canción de 7 minutos con la guitarra infernal me mató, lo siento.

2 stars for the horns

Totally dig 3/4 of this album. There is a lot going on -but great underlying guitar work. And I am a fan of horns -although Chicago sometimes takes them further than I would prefer.

There's some funk, and some jams, sprinkled in throughout. And there is a lot of horn work. Some might say too much, but the BGQ goes big with horns as well and it is powerful and triumphant, so there.

This might be good music, but it was also so freaking cheesy. The horns drove me crazy I did not want to listen to this album

I couldn't figure out what occasion this music fits with...even music I don't like, I can find a use for...for example, I noted earlier that Steely Dan was great music for buying a terrific pair of slacks. Some music is good for ignoring even...but I couldn't figure out what Chicago is for. I did think Poem 58 was a good jam.

Started strong, became unironically unlistenable as it moved along.

It was brilliant and funky. I see it in my store all the time and never realized the perfect album was there the whole time.