Thanks, Chicago!

(This article originally was written for the Chicago 30th Anniversary Project. This is an updated version.)

By Tim Wood
In life's journey we remember the markers that remind us of where we have been. Like landmarks on a road, we are reminded of where we are, where we've been and where we're going. There have been many markers in my life. The music of Chicago has been one of them. For each Chicago record there are memories of where I was in life. A Chicago album provides more than great music - it triggers memories.
Those memories often include how Chicago music gave me a boost I needed to get through a hard time, or how a particular song enhanced a joyful time.
At age 22 I was facing a tough decision. After three months in that long-anticipated first job out of college, everything was falling apart. I was seriously considering quitting that job. As I agonized over that decision, I flipped on the television and there was a Chicago concert.
They played the song "Run Away," which took on a whole new meaning. I quit the job and literally "ran away." The last thing I ever like to do is quit, but it turned out to be a good decision. The management of the business where I worked was replaced not long thereafter. My new job, while not without its share of frustration, resurrected my career and opened a chapter in my life in which I met my wife-to-be. I'm still with the same company I went to work for after I left that disastrous first job. Chicago probably didn't write that song to get people to quit their jobs, but it marked a turning point in my life.
Chicago was there when I first became interested in instrumental music. My school system had a very good stage band program, which attracted me. Then I heard Chicago and really got turned on to music. I could not believe that all of that sound was coming from just seven people!
Chicago II and "Fancy Colours" were the first Chicago album and song I recall. It didn't take long to discover that there were other Chicago albums out there - from CTA to Chicago V. I devoured them. CTA sounds as fresh today as the first time it went on the turntable.
What can anyone say about "25 or 6 to 4?" It's a classic, and Terry Kath's guitar solo is the best of all time. Someone once called it "Wes Montgomery meets Jimi Hendrix." I call it brilliant.
The posters from Chicago IV stayed on my walls for years. The album's not bad either, but I like "Live in Japan" better.
My school jazz band played an arrangement of the "Elegy Suite" from Chicago III. Other school bands also were playing Chicago songs, including "Make Me Smile."
My musical interests ran the gamut. When I was playing the piano and trying to write songs, I wanted to be Robert Lamm. When honking on the saxophone, Walt Parazaider was the man. After being forced to choose between sports and music, I dropped band but took up the guitar and bass. Terry Kath was the man and has been since. As my voice developed, I tried to emulate first Peter Cetera and then Jason Scheff - without much success.
Chicago VI brought classics "Feeling Stronger Every Day" and "Just You and Me." I liked those cuts but also dug "Jenny" by Kath. I had a thing for a girl named - guess what - Jenny. Jenny had a jukebox at home and she liked to play "Jenny" on it. I never got anything going with Jenny, but I remember that song and the fact that Terry Kath had nailed it again.
But I also liked Robert Lamm's "Critics Choice," because I was tired of seeing Chicago trashed by reviewers. "What's This World Comin' To" was a great rocker. And by the way, Robert Lamm's keyboard playing on "Feeling Stronger Every Day" is some of the best I've ever heard. Simple, but rockin'!
I marveled to the sounds of Chicago VII. It was the total package - from pure jazz to pop to rock. "Searchin' So Long" came along when I was in the throes of a teenage identity crisis. Again, Chicago had come through to give me a much-needed boost.
Kath's "Byblos" was a masterpiece. The story it told reminded me of the times I had blown opportunities with women just by being ignorant. Man, could I relate!
The television specials were memorable. "Chicago in the Rockies," "Meanwhile Back at the Ranch" and "Rockin' New Year's Eve" were fantastic! And recently, I finally got to see them again!
Chicago VIII brought another Kath classic, "Thank You Great Spirit." "Harry Truman" was cool and "Old Days" was another James Pankow stroke of genius.
Chicago X put the band on top of the world with another batch of great songs, topped by "If You Leave Me Now."
Chicago XI found me in college and I remember putting it on the platter and hearing "Vote for Me." I believe it was an election year and Robert Lamm hit home with the lyrics.
That album also is bittersweet because it was Kath's last recording with the band. I remember playing "Uptown" for a blind musician friend. He wasn't quite sure what to make of it. I didn't have the same problem. It cooked!
Yes, I remember where I was when I learned of the death of Terry Kath. I still remember the newspaper article and his picture. I really identified with him and still do. But then along came "Hot Streets" and "Alive Again." Chicago had survived, complete with a "People" Magazine cover story to document their resurrection. With Chicago recording and performing again, the world seemed at peace.
I even wrote a college term paper called "Chicago - Overcoming the Obstacles to Success." In light of what would happen to Chicago, that title was chillingly prophetic. But it also reflected the fact that even then, Chicago was a group of tough, resilient people who rose to whatever challenge they faced.
Chicago XIII arrived when I was dealing with the stress of studying at the world's best (and toughest) journalism school. Chicago XIV arrived when I had just bought an electric guitar to replace one I had had to sell several months earlier due to a cash shortage. I had a blast jamming along with "Manipulation." "Birthday Boy" still is one of my favorites. For years I played that on my birthday - no kidding!
One of my fantasies has been to jam with Chicago - for real!. That dream likely will stay in the realm of fantasy, but I still practice Chicago songs. Great music is great fun to play.
But then there came the transition from college to "real life" and new Chicago records were not to be found for awhile. But then one day I stumbled onto Chicago XVI. When I heard the opening power chords of "What You're Missing" I knew Chicago was back - in force!
Not long after that I fell for the woman who would become my wife - Cheryl Raley. She's a musician - a terrific pianist, organist and church choir director. Even though her musical preferences lean toward classic and sacred music, I serenaded her with "Beginnings." My guitar playing and singing weren't particularly great, but she married me nonetheless.
But a job transfer took me away from her at the same time we became engaged. As we carried on our courtship and wedding planning long distance, I had Chicago XVII to comfort me. I still remember listening to the cassette tape on a very crude recorder. 12 years later, I still have the cassette tape, and I still think "We Can Stop the Hurting" is the best song on the album.
Much to my delight, Chicago opened with that song in concert when I saw them in 1985. Despite almost 15 years of following Chicago at the time, it was my first Chicago concert. Economic realities and Chicago's touring geography had kept me from seeing the band. I do recall Chicago performing at my brother's college in the early 1970s. He invited to see many concerts at the college, but for some reason I didn't make it to that one. I regret missing my opportunity to see the original lineup.
With all due respects to the current Chicago lineup, I think the original group was the best. Next best is the current lineup and the group I saw in 1985 was third best. It also was Chicago at one of its peaks.
I kept up with Chicago through XVIII and XIX, even though the sound had changed. Nonetheless, I liked much of the new stuff. "Look Away" and "You're Not Alone" are superb songs and I thank Chicago for bringing them to the world.
Twenty-One was a nice effort as well, but then Chicago disappeared for a while. I became interested in other forms of music, but I still checked the "Chicago" bin at record stores in the hopes of seeing a new release.
Finally, "Night and Day" showed up and revived my interest in Chicago. When I heard those horns launch "Chicago," I knew that not only was Chicago back, but the classic Chicago sound was back as well. The horns were out front, Robert Lamm was singing, it rocked and everything again was right with the world!
I was living in North Texas at the time and when Chicago scheduled a concert in nearby Dallas, I managed to secure an interview with Lee Loughnane. Mr. Loughnane was a wonderful interview subject and I published the interview as well as a concert review in my newspaper It was only the second time I had seen Chicago live, but the band was doing well. The guitar duties were in good hands with Keith Howland and Tris Imboden took great care of the drumming duties. Only Chicago could replace one world-class drummer with another. And yes, I like Jason Scheff. My main instrument these days is bass and Jason plays it masterfully. He's a more consistent vocalist than the person he replaced and by all accounts, a class act. And can I leave out Bill Champlin? No! I believe he was the "spiritual successor" to Terry Kath. Would there be a Chicago today without Bill Champlin? Maybe - but it wouldn't be the same. (I loved the acoustic version "Look Away" with Champlin and Howland.)
The next year saw me moving to Tennessee for a new job. There was no new Chicago album, but I finally found the long-sought "Group Portrait" collection. I wasn't able to bring much music with me to Tennessee. I didn't have a record player and most of my Chicago collection was still on LP. I bought "Group Portrait" on cassette and having more Chicago music to listen to was a great comfort.Chicago blasted out of the boom box in my bare apartment. Again, when I needed a boost, Chicago was there!
I also bought the original Sony Group Portrait boxed set, primarily to get the book with the band's history.
Interestingly, the CD set had a sales ticket from a store in New York. Someone had returned it and it found its way to Tennessee, where I snatched it up. Perhaps there was divine intervention involved in helping me find this set.
Musically, I latched onto "Closer to You," an old B side which I had never heard. My wife and two sons were 700 miles away and yes, I needed to be closer to them. It's a great song and performance. That song will always remind me of three tough months when I was setting up a new life and trying to manage without my incredible wife and boys.
I learned about "Live in Japan" and one of my brothers, who lives in Japan, was kind enough to get it for me. I didn't know that Chicago Records was planning a domestic release. It's great to be able to hear the original lineup on a well-performed and well-engineered live recording.
Not long after that, I drove three hours to see Chicago in Knoxville, Tenn.. I have resolved to make up for all of those years of not seeing Chicago live. The band sounded better than it did in either of the two previous concerts. I could not believe the sound! It had the precision of a recorded performance - but with the excitement of a live performance!
Next came the discovery of the World Wide Web and all of the Chicago info that's out there. Thanks to the Web, I learned about the Terry Kath tribute album. Thank you, Chicago, for producing this labor of love. This Terry Kath fan now feels that his love for Kath's playing has been vindicated.
In the summer of 1997, Chicago has a great song climbing up the charts. The band is making television appearances and touring to enthusiastic audiences.
Again, all is right with the world!