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“When you took solos, you’d listen for Terry’s whistle.

It was high-pitched and permeated any decibel level.

“After all, we were hippies,” says Loughnane – and it meant Guercio didn’t have to pay real actors.

The film soundtrack featured the exquisite Kath-sung ballad Tell Me.

Guercio signed them to his production company, brought them to Los Angeles and changed their name to Chicago Transit Authority.

In 1968, Chicago Transit Authority signed to Columbia and were soon recording their debut album, with Guercio (who also controlled their management and publishing) producing.

It didn’t help that James Guercio’s other new signing, fellow Columbia “rock’n’roll with horns” act Blood, Sweat & Tears, had just hit No.1 with their second album.

“But Blood, Sweat & Tears didn’t have our songs, or our guitarist,” states Seraphine.

It was the day his friend, Chicago’s guitarist Terry Kath, shot himself dead after a game of Russian roulette went horribly wrong. A singer, songwriter and wildly adventurous guitar player, Kath was the bedrock of Chicago, the daredevil group who had been meshing rock, jazz and classical styles across 11 hit albums since 1969.

As well as being a phenomenal rhythm player, Kath was ceaselessly inventive on stage and in the studio.

He did it all: wah-wah pedals, distortion, endlessly sustained notes and the two-handed tapping heard on wouldn’t budge beyond No.17 in the US, although it cracked the Top 10 in Britain.

On a return trip to the UK, Kath’s gruff persona got the better of him during a press conference at the London Hilton.

Weary of the praise journalists were heaping on home-grown guitarists Eric Clapton and Jimmy Page, Kath slagged off Clapton (“He sucks! We took Terry aside and said, ‘My God, did you really just say that?

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“It was good for our souls.” As the band’s lone guitarist, competing with three horn players, Kath knew how to make his presence felt.