A highlight from Chicago’s most jazz-oriented album to date, “Mother” is a perfect example of the era’s political activism and musical eclecticism.

I’ve long thought Peter Cetera was underrated as a bass player, and Chicago’s “Happy ‘Cause I’m Goin’ Home” illustrates the point.

Why is Chicago’s “At the Sunrise” overlooked? Maybe because ‘Chicago III’ has so many great songs, and this one falls through the cracks?

The most unmelodic, atonal instrumental Chicago ever released, “Free Country” is not a piece I would ever play separately – but it works as part of the “Travel Suite.”

“Free” isn’t as well remembered as some of Chicago’s bigger classic hits of the era, but I have a great time every time I hear it.

With ‘Flight 602,” Chicago’s Robert Lamm describes the boredom of waiting to go onstage, but this engaging song is anything but boring.

Think Chicago is incapable of rocking? Too tightly arranged, not grungy enough? “I Don’t Want Your Money” proved detractors wrong on all of counts.

You could drop this Chicago song onto contemporary albums by CSNY or the Grateful Dead. So, what’s it doing here?

Robert Lamm’s sophisticated deep cut recalls a period when Chicago was one of the preeminent jazz-rock ensembles – not just a rock band with horns.

The only downside on Chicago’s “Sing a Mean Tune Kid” is its abrupt ending. But I guess I shouldn’t be too greedy.