Does Anybody Really Know What Number It Is?

I have the first twenty albums on vinyl. Here are the covers of sixteen of them.
(In a couple of cases, it's the back cover; in one case, the inner sleeve.)

Technology forced me to switch to CDs. Here are some of the covers sitting on the old Carnegie Hall LP.

Producer James William Guercio's idea for the albums was that they be nameless, wanting the music to speak for itself.
So, he used Roman numerals instead of titles.
Imagine that, a rock band with the instrumentation of a jazz combo, putting out works named like classical opuses.
The numbers have subsequently switched between Roman and Arabic, and most of the more recent albums carry names and numbers.
I'm on number XXXVIII, which is also titled "Born For This Moment."

~ FURTHER READING ~

In the following narrative, conversations are fictionalized.
I have no exact quotes!

In the mid-1960s, a band called The Missing Links was playing local gigs in Chicago.
It was not unusual for a sax to be present in early rock and roll.
The Missing Links had a sax player named Walt.

One day the drummer, Danny, said to Walt, "I wanna start a new band with trumpet and trombone as well as sax.
Wanna be in it?"
Walt's response was, "This rock thing is just temporary for me.
I have my sights on becoming the featured E-flat clarinetist with the Chicago Symphony, but I'll think about it.
Okay, I'll do it!"

The two of them approached their bass player to see if he was interested.
"No thanks," said Terry, "I wanna go to L.A. and be a lead guitar player."
"You can play guitar in our band," they responded.
"I'll think about it," said Terry.
"Okay, I'll do it."

So they visited the jazz clubs looking for the other horn players.
They recruited a trumpet player named Lee and a trombone player named Jimmy.

Now they needed a frontman.
A guy named Bobby was performing around town as a solo act, singing and accompanying himself on a Hammond B-3 organ.
And they won him over.

One night the six of them sat around a kitchen table and made a gentlemen's agreement to dedicate their lives to being "the rock and roll band with horns."

They began performing as The Big Thing, playing cover tunes, but in their own style.
Jimmy wrote arrangements for the horn players with input from the other guys.
Terry shared lead vocal duties with Bobby.
Having no bass player, Bobby compensated using the foot pedals on his B-3.

Along the way, they ran into a local group called The Exceptions.
They were impressed with the bass player, Pete, who also sang high tenor, so they invited him to join their project.

Meanwhile on the West Coast, a guitarist named Jim was producing The Buckinghams, whose hits included "Kind Of A Drag" and "Don't You Care."
People would hear them play live and ask, "What's missing?"
The answer was the horns that Jim would mix into their studio recordings.

Once, while visiting his hometown of Chicago, Jim ran into an old school chum named Walt.
"Hey," Walt said, "I'm playing in a new group.
You should come hear us!"
He did and was excited to meet a rock band with a real live horn section.

Jim told the members of The Big Thing, "You guys can really become the big thing if you do these three things:
1. Change your name to . . . Chicago.
2. Move to . . . Los Angeles!
3. Everything else I tell you to do."

And they did.

And they did!