Supported by the first single “Free”, Chicago’s 3rd album was released in early 1971 – equal to the previous two. I think, the main step what the band has done with “Chicago III” was that their musical image became independent from that well of funk & jazz rock of late 60’s. Even the numbers on every album helped with it. Anyway, musical critics and fans, never interested in their image, were waiting for this album as Chicago were The Beatles – promising their fall, changes and loss of style. This will happen in the future, but not on this album.
Song like album opener “Sing a mean tune kid” has never been done by Chicago before, but will be - for example, the opening track of “Chicago V”. It’s a drastic moment with horns. The first sounds from them feels like it was James Brown album, but they calm the listener: Such a scary song, kid Never heard before Yeah, yeah, yeah. Then follows wonderful Kath’s guitar solo , that proves Hendrix’s thought that Chicago’s guitarist is better than he. “Loneliness is just a word”, with horns in full motion once more shows off the song-writing talent of Robert Lamm. Such tracks are unique because usually “25 Or 6 To 4” or “Beginnings” are presented as his masterpieces. Tired masterpieces. And on “Chicago III” (like on any other numerous Chicago album) you can find what you’ve forgotten or never heard: “At The Sunrise” - simple love song that could be a number one hit, “Mother” – wonderful track with lyrics causing global problems and long long horn play, arranged by Jimmy Pankow.
What about the hits? It’s not a strong skill of the album. In fact, hits here are even weaker than tracks that weren’t charted. The first single “Free” is not a ordinary Chicago song – and when it is included in tones of Chicago’s compilations – sounds good because it’s short and catchy. But you can’t catch that it could be performed for example by Sly & The Family Stone. If “Chicago III” was made only from such songs as “Free” – we could talk about loss of their roots. But Chicago went into pop music over the years keeping their unmistakable style.
A beautiful tune – “Happy Cause I’m Going Home”, with no lyrics except Lamm’s “la-la-la” and other instrument-supporting-voices. And there was no need to write Chicago’s ordinary lyrics about love, memories … Walter Parazaider’s flute solo has said much more here. The track sounds like it was an improvisation after their major hit, acoustic too, “Beginnings”.
Instead of classical music interludes (as it was on “Chicago II”) you’ll find instrumental “Canon” (similar to Grammy winner “Improvisations by Eric Satie” by Blood, Sweat & Tears) and an interesting five track suite “An Hour In The Shower” written by the band’s late guitarist and vocalist Terry Kath. Personally, I like best the place where weary and even boring “A Hard Risin’ Morning Without Breakfast” rhythm suddenly is changed by up-tempo “Off to work”. When Kath sings “Now I must be off to work
I sweat all night and feel their nerve…” I almost see him rushing through Chicago traffic and even those short horns’ accords sound like a car horns pushed by nervous drivers. A few tracks later, these sounds come true unpredicted in horn solo “Progress?”.
“Chicago III” is a real treasure for fans. But it’s the best album to start listening Chicago too. The best even for those who were introduced to pop-cultured 80’s albums and formed a low opinion about the one of most successful American bands in history.
