The iconic 1970s band that sold its soul for commercial success

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Admittedly, labeling someone who trades their principles for commercial triumph as selling their soul can be severe. However, it’s not entirely accurate to claim a band prioritizes money over music simply by making a profit. Yet, the essence of Chicago, particularly the caliber of their music, seemed to decline as they continued to churn out hits.

Originally formed as “The Big Thing” in a significant Midwestern city back in 1967, the band later wisely decided to rename themselves Chicago Transit Authority the year after.

I appreciate it, they appreciated it, yet the transit corporation seemed unenthusiastic. Nevertheless, their debut album, a double-album named after them, peaked at number 17 on the charts in 1969 and later achieved platinum status.

I’m truly sorry for any misunderstanding with Robert Lamm, but let me clarify that what I meant was “Just the start, merely the opening chapter.” Chicago, as you may know, went on to achieve remarkable success, selling over 100 million records globally. They managed to place five consecutive albums atop the Billboard 100 chart, and they had a total of 21 hit singles. Among these hits, an impressive three reached number one. However, this is where the challenge lies.

It’s hard to believe now but Chicago was once at the pinnacle of creativity

Isn’t that fascinating? It was their less-obvious tracks that significantly expanded their fanbase. The original version of “Beginnings” from the album “Chicago Transit Authority” lasts for 7 minutes and 54 seconds, while the closing track on disc four, “Liberation,” is an impressive improvisational piece lasting 14 minutes and 38 seconds.

In Jimi Hendrix’s words, addressing saxophonist Walter Parazaider: “Your saxophonists function as a single pair of bellows, while my guitarist surpasses me.” Since they performed before him, his statement is well-informed.

In a straightforward manner: The second album they released, named merely Chicago, helped them establish their reputation. This double album climbed to the fourth spot on the charts in 1970 and produced three singles that ranked among the top 10. Remarkably, two of these singles, “Make Me Smile” and “Colour My World,” were shortened parts of a larger suite called “Ballet for a Girl in Buchannon.

For individuals who primarily associate the band with their soft pop image, I recommend giving it a few spins. Also, pay attention to the liner note penned by Robert Lamm: “This album represents our dedication, our future, and our energy to the people involved in the revolution, and the revolution in all its forms.

The year after, I came across another double album from the band, titled “Chicago III”. It was packed with even longer suites, brimming with intricate instrumental parts, as compared to their first release. One standout track on this album is the opening number, “Sing a Mean Tune, Kid”, which showcases some groovy funk rhythms and powerful vocals by Peter Cetera that truly rock. Boy, was I surprised!

This two-record set showcases three masterpieces of musical skill, but, just like what Billy Joel mentioned about one of the Beatles’ albums, individual preferences might lead to varying opinions on its greatness.

A four-album set titled “Chicago at Carnegie Hall” was released in 1971, showcasing their seven-day sold-out run at Carnegie Hall. In the following year, they put out “Chicago V“, their debut single LP. This album has its supporters and contains their most popular single to date, “Saturday in the Park”. Interestingly, this album was the first to reach number one on the charts, but the absence of extended suites signaled a shift towards more mainstream music for the band, which some might argue marked the beginning of their decline.

The 1973 album “Chicago VI” continued its downward trend and topped the charts, along with their next two releases. However, the instrumentals were now absent, as were the extended suites. In a shift, “Chicago VII” reverted to a double album format, incorporating more jazz-influenced instrumental pieces. It also included a greater number of ballads, among them the rather unremarkable “Wishing You Were Here.

Yes, I know a lot of people love it. But popularity has never been the true measure of greatness.

The shift towards a less heavy, more radio-friendly style was primarily driven by financial considerations. Producers like James Guercio and record labels such as Columbia Records pushed for more hits to be produced. Unsurprisingly, Peter Cetera was more than willing to oblige. With each passing day, he felt his creative influence as a songwriter and vocalist growing stronger.

The demise of guitarist Terry Kath in 1978 marked a shift towards more relaxing, or as some might say, ‘easy listening’ genres of music. However, the decision had been made earlier. As Ken Terry pointed out for Cashbox in 1977, “Chicago shines brightest with music tailored for AM radio, upbeat tunes. Their audience doesn’t seek complex, introspective songs; they crave music for driving, dancing, and working.

Many bands, including Chicago, Jefferson Airplane (now known as Starship), Fleetwood Mac, Coldplay, and Maroon 5, among others, have changed their sound over time. Some might say they’ve “sold out,” while others argue they’ve simply evolved. The truth is, the original jazz-rock band from the ’70s, Chicago, may still be active, but they’re no longer the same group they once were.

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2025-08-01 16:31