‘Chicago III’ arrived in early January 1971 as the band’s third consecutive double album in less than two years. Yet Chicago was somehow still pushing the musical envelope, in form, genre and substance. Charlie Ricci, Perplexio and Bob Helme take a look back at five songs that helped define this gutsy record:
‘MOTHER’
Chicago III was one of their most ambitious and “Mother,” the song that opens Side 3 of the original double LP, is a perfect example of the era’s political activism and musical eclecticism. “Mother” is Robert Lamm’s obituary for planet Earth and is exactly the kind of song that was very much in vogue at the time.
Never one to shy away from turning his political beliefs into great music, he couldn’t be more pointed here with his closing lines: “Our Mother has been raped and left to die in disgrace. She is gone.” Lamm’s lyrics lean a little more toward doomsday thinking than is necessary, but he gets his point across.
I’m sure this outspokenness from Chicago’s excellent composer is sincere – and I agree with him on this issue – but I always found it a bit hypocritical how he and other rock stars would pontificate on this subject while sucking up gobs of electricity to power the largest amplifiers the world has ever seen.
A bouncy, electronic, keyboard opening precedes Lamm’s vocal accompanied by some great harmonies. Then the horn section takes over for a few bars before James Pankow contributes an uptempo, jazz, trombone solo and, with an assist from the wonders of modern recording technology, a competing solo layered on top of his first one. Finally, Lamm and friends return with the last verse before the arrangement slows down, allowing Pankow to take an additional turn on his horn.
While this Chicago track is a mostly a showcase for Lamm and Pankow, it also proves the importance of sidemen. Bassist Peter Cetera and drummer Danny Seraphine are superb once again and the unselfish Terry Kath – who could have easily set himself up as the rock star hero of the band – contributes outstanding rhythm guitar work, especially on Pankow’s final solo. – Charlie Ricci
‘LOWDOWN’
“Oh my
Life has passed me by
The country I was brought up in
Fell apart and died”
Lyrically, “Lowdown” is quite effective. Losing one’s country, one’s love, and one’s best friend – anyone would be feeling “lowdown” under those circumstances.
Robert Lamm was more traditionally the go-to songwriter in Chicago for political lyrics, but there’s something to be said for Peter Cetera’s political songwriting. In both “Where Do We Go From Here” and “Lowdown,” Peter ties political issues to emotions – to a larger palette of life, if you will.
Lamm’s lyrics are exceptional at addressing the issues, but he tends to use the music to express the emotion, whereas Cetera’s forays into the political speak to his politics merely being a part of his life – not as something that defines his life. Yes, he’s upset about the state of the country, but he’s also lost his love and in losing that love he has also lost his best friend.
While Chicago’s bread and butter is their horn section, the chemistry of their original rhythm section is one of the tightest I’ve ever heard from any band. And while Danny Seraphine and Terry Kath have the respect of their peers on their respective instruments, Cetera is their equal on bass. Given his shift to focusing more on his vocals after leaving the band, his bass talent displayed on Chicago’s earlier material tends to be underrated.
“Lowdown” features one of the tightest rhythms ever laid down by Seraphine, Kath and Cetera. It’s easily one of the best tracks on Chicago III. – Perplexio
‘HAPPY ’CAUSE I’M GOING HOME’
“Happy ’Cause I’m Goin’ Home” opens with Terry Kath counting the listener in to his rhythm guitar. He’s then joined by Danny Seraphine on drums and Peter Cetera on bass, before Robert Lamm comes in with some “la da das” that breezily dance over the tight rhythm laid down by Chicago’s rhythm section. Lastly, the horns get their chance to shine as they punctuate Lamm and Cetera’s singing, as Walt Parazaider exercises his chops with a delightful flute solo, this is largely a showcase for the rhythm section.
I’ve long thought Cetera was underrated as a bass player, while I consider Chicago V to show him at the peak of his talents, “Happy ’Cause I’m Goin’ Home” provides a preview of that musical brilliance and features some of the best bass playing in Cetera’s long tenure in Chicago.
There are some amazingly subtle acoustic rhythm guitar fills by Kath throughout the song that truly illustrate the idea that sometimes “less is more.” While Kath was more known for his lead playing, “Happy ’Cause I’m Goin’ Home” is a showcase of his talents playing guitar not as a lead but as a rhythm instrument. He shows restraint and allows his guitar playing act as an accent to the rest of the band, rather than the driving force his playing was more traditionally known for.
On a personal note, this is one of my “go to” songs for my Friday afternoon/evening commutes home from work. While the song was inspired more by the feel of a return home after a long tour, its relaxed feel lends itself to a bit of mental decompression after a full and productive work week. After all whether we love or hate our jobs, by Friday, aren’t we all “happy ’cause we’re goin’ home?” – Perplexio
‘MOTORBOAT TO MARS / FREE’
The problem with the “Travel Suite” from Chicago III is that it doesn’t flow together nearly as well as the classic “Ballet for a Girl from Buchannon” from Chicago’s previous record. Instead, the suite feels like a series of separate and totally unrelated songs edited together.
However, that doesn’t mean those individual parts don’t offer listeners a rewarding experience. Two good examples are Danny Seraphine’s brief drum solo, “Motorboat to Mars” and their hit single “Free,” which went to No. 20 on the Billboard Hot 100.
Considering how I feel about the suite as a whole, why am I discussing these two Chicago tracks together? It’s because, way back in 1971, my local FM rock station often played them as one. So, during my days as a college DJ, I did the same. I never think of Seraphine’s contribution without thinking of the Robert Lamm composition that follows it.
I have no problem with drum solos but too often they go on too long. (At 13 minutes, Ginger Baker’s live version of Cream’s “Toad” is a great example.) On “Motorboat to Mars,” Chicago’s great drummer played some interesting stuff and he made sure his solo didn’t overstay its welcome. At only 1:30, it fulfills your need for such fare. Just around the time you start saying, “OK, enough” about this instrumental drum track, without warning, “Free” kicks in. This short song, sung by Terry Kath, starts and ends in just 2:16.
“Free” is a fast song, with a fantastic, wild instrumental horn break in the middle and some of the most simple and unobtrusive lyrics Lamm ever wrote. His words are mere window dressing. Unlike the keyboard player’s political works, this is a lighthearted, danceable party song. “Free,” though it isn’t as well remembered as some of Chicago’s bigger classic hits of the era, isn’t about the lyrics. It’s about the vibe. – Charlie Ricci
‘ELEGY’
When I was a senior in high school in Chicago, there was a radio station from another local school called WARG that used to play the “Elegy” suite which comprised Side 4 of Chicago III. They played “Elegy” immediately after the news of Terry Kath’s death was made known. I remember it like it was yesterday: the DJ said, “Well, if Chicago continues, they will never sound or put out a piece of music like that again!” How prophetic!
My colleague Perplexio noted that the third album is “Chicago taking itself seriously.” I never thought of it that way, but it really is true. The one moment of goofiness is Kath’s “An Hour In The Shower” but, for the most part, the band that could and did do anything possible musically was indeed in a serious mood. The poster of a cemetery, complete with crosses and band members dressed in uniforms from all the major U.S. wars? That’s serious, folks!
The “Elegy” suite kicks off with “When All the Laughter Dies in Sorrow,” a poem by Kindrew Lacelles, which is read by Robert Lamm in a very solemn tone. The rather chilling narrative is about visitors from another planet finding a devastated Earth mostly destroyed in a nuclear war. The poem serves as an introduction to trombonist James Pankow’s “Canon,” another of his classically influenced pieces. I personally feel Pankow’s writing was at a creative peak on the first few albums.
“Once Upon a Time” is a simply gorgeous melody played by Walt Parazaider on flute. Robert Lamm provides some beautiful counterpoint on piano. Despite the “Peter Cetera isn’t a musician” claim in the trash-talking Now More Than Ever band-produced documentary, he really holds it all together with his exceptional bass guitar work. Next is a “composition” from producer James William Guercio called “Progress?” features dozens of horn section overdubs that are very Baroque in nature – followed by a lot of noises. Then we are thrown into a bebop/funk rhythm that only Kath (guitar), Cetera (the so-called non-musician is on bass), Danny Seraphine (the inconsistent drummer per the documentary – yeah, right) and Lamm’s churning B-3 organ could create.
The last selection is “Man Vs: Man, The End” and it’s about as cheery as the title. Seraphine’s martial drumbeat backs some rather ominous horn lines that eventually wrap up with several drum breaks and one last ominous chord from the entire band. The effect is like someone slamming a coffin lid on the planet, which is most likely James Pankow’s intended effect. “Elegy” is not an easy listen for many, but it shows what a staggering range of styles the original Chicago lineup could pull off – and pull off very well. – Bob Helme
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