27. Poem 58
Album: Chicago Transit Authority (1969)
Writer: Robert Lamm
Lead vocals: Robert Lamm
Released as a single? No
Chicago was at heart an experimental band when they started out, aiming to bring elements not normally seen in rock groups, and Poem 58 is the most successful of their debut album's most experimental tracks. It is an 8.5-minute tour de force of psychedelia and dramatic tension. The all-instrumental first half is a showcase for Terry Kath, first laying down chunky rhythmic slices and then shredding like the other guitar gods of the day -- much of that passage is just guitar, bass and drums, the power trio format that Hendrix, Clapton, etc. worked in. The second half is a slinky slice of swinging -- imagine stoner kids trying to play Stax -- with an insistent bass groove, a heartfelt vocal from Lamm and more guitar heroics from Kath. Hendrix adored the band when he encountered them at the Whiskey Au Go Go (and later had them open for him), and I would not be surprised if this was the tune that drew him in.
@KarmaPolice -- you will want to Pick. The. Bong. Up. for this one.
Live version from 1969 (at the Fillmore West in August, where Bill Graham booked them so he could replace them on the Woodstock bill with Santana):
https://www.youtube.com/watch?v=PfLBnLceRQ4
Chicago Transit Authority is one of the greatest debut albums of all time and IMO remains the band's best record. It is a double because the band produced so much good material in the five days they were given for recording that Columbia agreed to put it out as a double in exchange for a cut in the band's royalty rate -- not the last time the band wouldn't think things through in terms of finances. The band worked feverishly after moving from Chicago to Los Angeles, not only in terms of gigging but in terms of writing originals. These are the songs that first put their concept of a "rock band with horns" to the test, and they passed with flying colors. Most of the tracks were written by Robert Lamm, who wrote or cowrote seven of the album's 12 tracks; Terry Kath penned two (one of which is an experiment more than a song), James Pankow penned one and collaborated on another with Lamm, one is a cover and one is a "field recording" credited to producer/manager Jim Guercio. Half of its tracks appear in my top 31, tied for the most with Chicago VII, and the most from a percentage perspective.
One reason why CTA has held up so well is that it was the band's only album that was recorded without an explicit intent to cater to pop radio. There are catchy songs on it, some of which got plenty of radio play, but there are also lengthy tracks with jamming, raging guitar workouts, political rantings and philosophical musings. This record was pitched at hippies and college students, not Midwestern housewives. As such, it was a slow burn on the charts, and was the band's only studio album released in Terry Kath's lifetime that did not hit the top 10. Nor did it produce any major hit singles until two years after its release (Columbia issued singles from the first two albums in the second half of 1971 after the first two singles from III didn't hit the top 10). However, as a testament to the quality of the material and the word-of-mouth nature of how it got popular, it set the record for most consecutive weeks on the Billboard top 200 albums chart until the release of The Dark Side of the Moon.
As Guercio put it in the liner notes:
"The purpose of this commentary ... is an attempt at documenting the complete rejection of any name label, title or verbal reference relative to the performance contained herein. Corporately as well as individually, this artist endeavors to be judged in terms of contribution alone rather than through the tag affixed upon it. The printed word can never aspire to document a truly musical experience, so if you must call them something, speak of the city where all save one* were born; where all of them were schooled and bred, and where all of this incredible music went down barely noticed; call them CHICAGO."
* - actually two (Robert Lamm was born in Brooklyn and James Pankow was born in Missouri)
At #26 we have a super psychedelic song (with flute!) that on its respective album appears between what may be the band's two most legendary efforts.