‘Chicago II’ was a breakthrough moment, as the group debuted its now-familiar cursive logo while soaring to No. 4 on the U.S. charts. Released on Jan. 26, 1970, this was also the first album issued under an abbreviated name, after the actual Chicago Transit Authority threatened legal action. Chicago was nominated for three Grammys, as a trio of Top 10 singles followed – but we’re exploring further today, as writers from our Chicago-focused ‘Saturdays in the Park’ series highlight five perhaps-overlooked moments from ‘Chicago II’:
‘MOVIN’ IN’
Continuing the autobiographical trend started with “Introduction” on 1969’s Chicago Transit Authority, Chicago’s self-titled second album (retroactively known as Chicago II following the release of Chicago III in 1971) opens with the similarly autobiographical “Movin’ In.”
Where lyrically the similarities are unmistakable, almost to the point of feeling like a re-tread of the prior album’s opener, musically this James Pankow-penned story is decidedly different than the Terry Kath-penned “Introduction.”
“Introduction” starts with more of a bang, while “Movin’ In” has more of a slow build. It gives the overall effect of the song a different feel. “Introduction” bursts out of the gate, making a statement; “Movin’ In” eases in and tells a story. Much like in “Introduction,” different musicians get a chance to shine. Chicago’s horn section in particular takes turns with brief but strong solos. Perhaps the biggest difference between the two songs is Kath’s guitar.
In “Introduction,” it was a force to be reckoned with – and that made it somewhat obvious the song had been written by a guitarist. In “Movin’ In,” he’s decidedly subtler and more understated, but Kath’s guitar work is certainly no less enjoyable, as there’s a brilliance in his subtlety. In fact, this song works a notable “introduction” to a subtle side that would showcase itself more on other Chicago songs in later years.
Danny Seraphine’s drumming also seems a bit more noticeable on “Movin’ In.” It doesn’t sound or feel as if his style has changed any, merely that the engineer mixing the album brought Seraphine’s drumming a bit more forward in the mix than it had been on Chicago Transit Authority. Previously, his drumming would be brought front and center when percussion was being featured but on “Movin’ In,” even though the music is focusing on the drums and percussion, Danny’s drumming feels like a more cohesive part of the overall mix.
That cohesiveness sets apart “Movin’ In” and inevitably the entire album from its predecessor. Whereas Chicago Transit Authority took turns shining the spotlight on different individual members, on Chicago II it feels as though the spotlight is shining on the whole band from start to finish. That brightness shifts to different members as the musical direction of the material changes.
Chicago’s second album has a natural flow to it, some of the songs seemingly have “abrupt” endings if listened to on their own, but when coupled with the subsequent songs on the album, those “abrupt” endings are merely segues to the following songs. “Movin’ In” certainly falls into that category. On its own, the song feels as though it’s meandering along on a Sunday drive enjoying the scenery, taking in all of the sights and sounds then it suddenly notices there’s a stop sign and the song slams on the brakes …
That abrupt ending however is a brilliant segue into “Poem for the People,” which contributes to a natural flow to Chicago II that was missing from the band’s brilliant debut. – Perplexio
‘POEM FOR THE PEOPLE’
Robert Lamm’s “Poem for the People” will always hold a special place in my heart as it was my father’s favorite Chicago song – even though his man and mine, Terry Kath, didn’t do the lead vocal. However, Kath delivers some of his most beautiful, jazz-influenced lead guitar playing here as he offers a musical commentary on the lines Robert Lamm sings. My dad was a pretty hip guy for someone born in 1924!
Peter Cetera sings the “rarely funny” part well and often. Speaking of Cetera, vocally he’s all over this album, somewhat making up for his few leads on Chicago Transit Authority. That his melodic bass playing is world-class is a given at this juncture of the band’s career.
“Poem for the People” begins with some melancholy piano chords played by Lamm. The horns follow with a beautiful chorale figure. Chicago II remains the band’s most classically influenced musical statement. Even the previous song, Kath’s “The Road,” has clarinet at its beginning and baroque-sounding horns throughout. Toward the end of the chorale, the meter increases, Lamm reenters on organ and Danny Seraphine charges through with tom rolls that are perfect compliments to the proceedings.
Lyrically and musically, Lamm is in peak form, continuing the insightful social commentary he will be known for throughout his Chicago and solo career:
“The world’s a funny place you know
Most of what goes on is rarely funny
Rarely funny at all”
After the second verse/chorus, the tempo shifts to a tango rhythm as the horns come charging in with a brilliant unison solo. More tom rolls from Seraphine bring us back to the original rhythm, another verse/chorus and we’re out. I’m sure most Chicago-philes have noted that trombonist James Pankow’s solo at the end is a figure that will be later reprised for “Saturday in the Park,” a rare repeat for him at this glorious point in the band’s career.
Chicago will be excellent throughout the Terry Kath years, but rarely, if ever better than this deep cut. This is the sound of a band that can do anything and do it well. – Bob Helme
‘IN THE COUNTRY’
The sun is shining, the birds are singing, you feel the soft springy carpet of grass under your feet. There’s not another soul for miles around besides you and that special someone. Both of you feel free like you can tell each other anything, but at the same time you don’t need to.
Chicago guitarist Terry Kath was a city boy. Until performing a concert at Tanglewood in 1970, the mere concept of being “In the Country” was foreign to him. So, Kath decided to take this unique experience and put it to music. Every time I listen to “In the Country,” I feel the freedom of the solitude and being alone in my thoughts, I feel the sun beating down on me, the gentle breeze tousling my hair.
From a musical standpoint, this track was a preview of things to come: Peter Cetera’s bass chops were becoming more prevalent. The whole chemistry of a rhythm section that had already been tight on Chicago’s debut was even tighter now, and there was more of a cohesiveness to their sound. The horns feel a bit looser and more relaxed as they meander and dance around Terry and Peter’s vocals. The Chicago rhythm section chugs along at a leisurely pace, giving the whole song the feel of “a walk in the country with nature’s sweet charm.”
While Cetera’s bass is audible, it’s buried slightly deeper in the mix than it would be on later albums, but it does seem more forward in the mix than it had been on Chicago Transit Authority. I’m not sure if this is due to Cetera gaining confidence as a bass player or James William Guercio as a producer making a concerted effort to draw more attention to his chops. Cetera and Kath played off each other brilliantly both vocally and rhythmically. Guercio did an exceptional job here of showcasing not only the tightness of the rhythm section, but also their vocal chemistry,
To this day, “In the Country” remains one of Chicago’s better album cuts – and one of the most complete full band efforts Chicago ever recorded. – Perplexio
‘MEMORIES OF LOVE’
This song is both an oddity and a perfect fit for Chicago II. “Memories of Love” is odd for reasons I’ll go into shortly, but fits because as mentioned earlier, the band’s second album is not only one of its very best but also the most classically influenced. Unfortunately, the suite is also sadly ironic. More on that later, as well.
Mostly, “Memories of Love” is a shock, especially when sandwiched on album between the driving hard rock of “25 or 6 to 4” and the follow-up jazz/rock punch of “It Better End Soon,” the other extended suite lead that Terry Kath had a hand in writing on Chicago II. Here, he co-writes this suite with Peter Matz, a well-known Hollywood orchestral arranger and band leader. Around the time the album was recorded, Matz was the orchestra leader for the Carol Burnett Show.
The first thing one hears is a flute melody played by, I presume, Walt Parazaider (“Prelude”). No credits are given, so one assumes it’s most likely him. This melody is accompanied by somewhat severe-sounding strings, not unlike the Beatles’ “She’s Leaving Home.” There’s also perhaps a bit of the Moody Blues’ Days of Future Passed at play here. The members of Chicago were listening to everything and anything in those days, so some influence from across the pond was likely to creep in.
“A.M Mourning” and “P.M. Mourning” are also heavily orchestrated and veer between some beautiful and totally bizarre orchestral touches such as (again an assumption) Parazaider playing some really weird passages on piccolo. This lends an uneasy feeling to the proceedings, as if something horrible is just around the corner.
A snare drum is heard here and there, along with tympani. Again, no album credits are given, but one could imagine this is Danny Seraphine playing these, as he’s a schooled musician at home reading written drum parts. James Pankow’s trombone breaks through all of this and really brings chills. He plays with such feeling that it’s really moving. However, the weird chords continue from mallet instruments this time, leaving the listener with a feeling of dread and foreboding.
Plucked violins give way to Terry Kath’s “Memories of Love,” a ballad that is mostly his vocal, strings and Pankow’s trombone. As the piece builds, Parazaider’s flute returns. The subject matter is a young man praying at either his significant other’s deathbed, wake or at the cemetery following her funeral. It’s been said that Kath could sing the phonebook and make someone cry, and he’s very moving here. One wonders if this is something he personally experienced and perhaps influenced the path he took in his personal life.
Finally, this piece is ironic in that Kath himself died an all-too-early death and was mourned by his family, friends and brothers in the band Chicago. Fortunately, that was several years in the future, and lots of great music was forthcoming from the group from the Windy City. “Memories of Love” is just the sort of left turn a great band at the height of its powers isn’t afraid to experiment with. It’s unlike anything else in Chicago’s catalog and for that, we must tip our hat. – Bob Helme
‘IT BETTER END SOON’
Politically speaking, no one would ever mistake my politics with Robert Lamm’s. That being said, Chicago’s more topical material happens to be some of my favorite from their extensive catalog. As a student of history, I appreciate their more political work and see it more as musical chronicles of historical moments in time.
“It Better End Soon” is a musically brilliant chronicle of the anti-Vietnam sentiment of the late 1960s and early ’70s. Anchored by a tight rhythm featuring some of Peter Cetera’s best bass playing of his entire Chicago tenure and Danny Seraphine’s tight drumming, the song chugs along with a slow build to an intense crescendo after giving Walt Parazaider a chance to show his chops on the flute. “It Better End Soon” also gives Terry Kath an opportunity to soulfully preach.
While the version on Chicago II is exceptional and thoroughly enjoyable, the version of “It Better End Soon” from Live at Carnegie Hall kicks it up several notches. In fact, it features Parazaider’s best flute solo ever, bar none, as he borrows from “Dixie” and “Battle Hymn of the Republic.” It’s majestic and sweeping in scope.
As such, I consider the version from Chicago II to be the foundation. When performed live, “It Better End Soon” was on a completely different level than the studio version.
As the years wore on, Chicago’s political material grew more sparse. That’s unfortunate, as I believe it’s where they truly excelled. The lyrics made grand statements and the music captured some of the prevailing moods of the times. Perhaps what makes Chicago’s topical fare a bit more enjoyable and accessible than similar material by other acts is that even when it’s being preachy, it doesn’t feel like it’s being preachy.
It doesn’t hurt that musically some of their most political material, “It Better End Soon” included, is extremely catchy and listenable. So, even though I might not always agree with the politics of Chicago’s lyrics, I find myself saying to myself, “This is pretty damn catchy!” – Perplexio
