The eerie growl of an electric guitar fills the room, slowly escalating into a chaotic whirlwind. Its tone suggests a spontaneous Sonic Youth session or the fiery intro from Gang of Four’s Anthrax that Andy Gill crafted. If you listen closely, you can detect tiny elements of early guitar tapping that bring to mind Eddie Van Halen’s Eruption, but the similarities lie more within the structure rather than the details. What’s remarkable about this musical frenzy is that it predates even these iconic guitar pieces by a decade.
The seven-minute explosion of sound, fittingly labeled ‘Free Form Guitar’, is the brainchild of the late Terry Kath, Chicago’s leading guitarist during their early years. Joe Walsh alluded to the trailblazing instrumental, admitting that in certain places he was left unsure how Kath produced such sounds on his guitar. Despite Kath and Chicago’s popularity during his era, it is surprising how frequently he is omitted from discussions on the influential guitarists of the 70s.
Following the release of ‘Free Form Guitar,’ Kath didn’t simply blend into the crowd. This piece was part of Chicago’s debut album in 1969. Contrarily, he continued to make waves in the band’s renowned classic rock songs, including the famous ’25 or 6 to 4′ which still enjoys significant airtime even today. In fact, this author can attest to its popularity, having played it in his high school jazz band.
A particularly astounding performance of ’25 or 6 to 4′ by Kath was recorded during Chicago’s concert at the Tanglewood Music Center in Lenox, Massachusetts, on July 21, 1970. Kath’s gripping performance exemplified his extraordinary skill and unique style. His era with Chicago was speckled with numerous memorable lead guitar segments that continue to resonate with fans.
Among Kath’s arsenal, a beloved 1966 Telecaster that was as extraordinary as Kath’s talent continues to be a symbol of his legacy. This guitar, decorated with Pignose stickers and a Chicago Blackhawks sticker amongst others, boasted unique features. With a neck humbucker for added strength, custom body routes, a reverse control plate, custom tuning machines, and three wing string trees, it was as distinct as the man behind it.
Sadly, Kath’s life and blossoming career were prematurely truncated. As the 70s progressed, Kath was increasingly hampered by substance abuse problems. He also developed a fixation for guns that he would carry with him, whether on tour or not.
One fateful night turned tragic when Kath, in a playful mood, held one of his guns, a 9mm semi-automatic pistol, up to his head. Unaware that the presumed empty chamber held a live round, he playfully squeezed the trigger. The inadvertent act had fatal consequences, bringing an abrupt end to his life at the tender age of 31.
In recalling Kath’s remarkable talent, an anecdote often shared is of an encounter between Kath and Jimi Hendrix. It is said that after a Chicago concert in 1969, Hendrix went backstage to meet Kath. He boldly told another band member that in his opinion, Kath’s skills surpassed even his own.
In retrospect, Joe Walsh’s intimate and accurate observation appears to sum up Kath’s contribution to the world of guitar music. He described him as ‘one of most underrated guitar legends of the ’70s.’ Even after his untimely death, Kath’s influence and musical contribution continue to resonate, warranting a spot amongst the revered artists of his era.