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.

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.

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.

Chicago’s more political material, “It Better End Soon” included, happens to be some of my favorite from their extensive catalog.

With 1970’s “Fancy Colours,” Chicago proves once and for all how sophisticated rock music can be.

This is one Chicago deep cut I never get tired of – and the band seems to feel the same: “Wake Up Sunshine” remains an enduring concert chestnut, too.