4 Chicago Songs That Prove 1970 Was The Best Year Of Their Career

Many fans might be most familiar with Chicago as the 1980s adult-contemporary titans behind ballads such as "Will You Still Love Me?," "Look Away," and "You're the Inspiration" — the song that arguably turned them from classic rock icons to mainstream pop stars. However, these listeners are missing a lot by overlooking the early years of their career, which produced a plethora of notable songs, many of which hit substantially harder than their later-period singles. This was most apparent in 1970, the year that saw Chicago enjoy their first taste of mainstream superstardom.

At this point in their career, Chicago was perfecting the mix of rock, pop, jazz, and even progressive and classical influences that got them through the door with their 1969 self-titled debut album. Now boasting a shorter, punchier name trimmed down from the slightly unwieldy Chicago Transit Authority, the band released the album now known as "Chicago II" in 1970, and that turned out to be an even bigger success, peaking at No. 4 on the Billboard 200. Most of all, it was a perfect showcase for the band's versatility, as it offered something for practically everyone, from catchy hard rockers to tender (but not overproduced) ballads and everything in between.

So with all that said, here are four songs — most of which come from the aforementioned sophomore album — that prove why 1970 was the absolute best year of Chicago's career, both commercially and creatively.

When looking back on Chicago's tragic story as a band, the accidental death of lead guitarist Terry Kath is usually the first thing that comes to mind. His passing was a huge blow to the group, and it wasn't just because he was one of his generation's most talented axemen. Kath was also a phenomenal singer, and he gave fans one of the best examples of this latter talent in "Make Me Smile." This song happens to be Chicago's first major hit single — and first entry on the U.S. pop charts, period.

Written by trombonist James Pankow as part of the six-song "Ballet for a Girl in Buchannon" suite from "Chicago II," "Make Me Smile" is an upbeat love song that perfectly highlights Kath's powerful, booming baritone, particularly in the choruses. But he also gets to do what he's primarily known for, busting out a complex guitar solo that lasts for a good 30 seconds, but is unfortunately omitted from the single version. Then you've got the song's reprise, "Now More Than Ever," which features a short but nifty solo from drummer Danny Seraphine. It doesn't get much attention compared to other epic drum solos from the '70s, but it's a fantastic transition to a dramatic ending that further underscores how "Make Me Smile" was far from your average pop-rock track from the early '70s.

Seriously, what is "25 or 6 to 4" about? According to Chicago singer-keyboardist Robert Lamm, the title refers to the time on the clock when he wrote the song — either 25 or 26 minutes past 4 a.m. His bandmate James Pankow simply said in an interview that it's a "song about writing a song" (via American Songwriter), while some listeners even went as far as to speculate that the tune has hidden messages about psychedelic drugs. Still, it doesn't matter how one may interpret the lyrics — most will possibly agree that "25 or 6 to 4" is one heck of a song, and one of Chicago's best tracks from their early years.

Any talk of the song's greatness should start with the insistent main riff — a basic yet catchy descending sequence that bears some resemblance to the chord progressions from a couple of earlier songs ("While My Guitar Gently Weeps" by the Beatles and "Babe I'm Gonna Leave You" by Led Zeppelin) and one that came much later ("Brain Stew" by Green Day). Singer-bassist Peter Cetera, meanwhile, is in peak form here — well before he became better known as the main voice of Chicago's adult-contemporary era, he was more than capable of holding his own on fast-paced rockers like "25 or 6 to 4." And, for the cherry on top, the song also features some blistering lead guitar work from Terry Kath, who provided what could be one of the best yacht rock solos of all time in the ad-lib.

Even in their days as a brass-heavy group that wasn't shy about pushing musical boundaries with intricate arrangements, Chicago was already a reliable love-song band. But they also didn't hesitate to get a little more serious with their lyrical content. "Does Anybody Really Know What Time It Is?" is one such song that delves into these themes, and one of the best examples of a tune that puts the focus on Chicago's horn section, particularly trumpeter Lee Loughnane. His trumpet solos are just as important to the song as Robert Lamm's lead vocals and lyrics, which deal with how easy it is to lose track of what's really important in the world amid the bustling chaos of everyday life.

Interestingly, "Does Anybody Really Know What Time It Is?" was neither a track from the then-current album "Chicago II" nor the one that would come after it. Instead, it came from the 1969 debut record "Chicago Transit Authority," which reached its peak on the album charts that summer — the same one where Chicago came so close to playing at Woodstock. Who knows? Maybe a Woodstock performance would have helped make "Does Anybody Really Know What Time It Is?" a hit in the year its parent album was released. But good things can happen to those who wait, and the tune made it three straight top 10 hits for Chicago following its late-1970 release as a single.

And now we wrap up with the only ballad in the list, and one that should take many a boomer back in time to their first prom. In terms of its melody, "Colour My World" does indeed make for an ideal slow-dance song, but what really stands out is the simplicity — and brevity — of the lyrics. There are just six lines of lyrics in the song, but somehow, they feel more impactful than the entirety of similarly-themed Chicago songs such as "Will You Still Love Me?" And much like "Make Me Smile," "Colour My World" serves as more evidence that Terry Kath's vocal chops were almost, if not exactly, on the same level as his guitar-playing skills. The horn section isn't too involved here, and neither are the drums, but that's fine — once again, the main selling point is simplicity, and the minimalist arrangement is just what this song needs to be effective.

Unlike the other songs mentioned earlier, "Colour My World" was not an instant success following its release — as the B-side to "Make Me Smile," it failed to crack the charts upon its original release in March 1970. But as the B-side to the 1971 single "Beginnings," it was, along with its A-side, another substantial hit for Chicago after its re-release, reaching No. 7 on the Billboard Hot 100 in August of that year.