Chicago guitarist Terry Kath’s solo on “25 or 6 to 4” has always been one of my most memorable musical moments. Here’s why.

Free’s critically underrated ‘Heartbreaker’ was a direct foreshadowing of the success to come for Paul Rodgers and Bad Company.

The hard-to-accept fact is simply that although Mott the Hoople had a number of good albums, they never really had any great ones.

One of Chicago’s crowning achievements, “Beginnings” boasts a near-perfect arrangement only marred by a good but too-long coda.

“Does Anybody Really Know What Time It Is?” is one of the great triumphs of Chicago’s 1969 debut, ‘Chicago Transit Authority.’ Here’s why.

Where better to begin a multi-writer, song-by-song examination of the music of Chicago than the aptly named “Introduction” from their debut release?

You have to wonder why Manassas went under so many people’s radar, especially with the gap left by the breakup of Crosby Stills Nash and Young in 1970.

Toto’s fourth album represented a major investment for Columbia Records after ‘Hydra’ and ‘Turn Back’ failed to reach the heights of the band’s debut.

Most people associate Glenn Frey with the peaceful, easy country-rock songs with the Eagles. But he also had a gift for R&B and vocal arranging.

There’s nothing forced about 1970’s back-to-basics ‘Morrison Hotel,’ which found the Doors offering blues-battered hard rock with renewed vim and vigor.