Search - Chicago :: Chicago 16

An Impressive Return

Jim Kelsey | 08/13/2006

(5 out of 5 stars)

""Chicago 16" marked a new chapter for the band with two top-40 hits and a whole new sound. Picked up by Warner Brothers after Columbia Records dropped them (due to poor record sales), Chicago gained a new perspective under song-writer/producer David Foster. Foster, who co-wrote 8/10 songs on the album, not only added himself on keys, but also brought in a load of studio musicians: Steve Lukather, Steve Porcaro and David Paich from Toto; guitarist Michael Landau; guitarist Chris Pinnick, who now is Chicago's main guitarist. With Foster's help, Chicago entered 1982 with a bang that lasted until the end of the decade.



To list three guitarists in the credits only points to the fact of the great loss that the band incurred when Terry Kath died in 1978. The three albums that followed his death up until "16" clearly reflected the devastation the band felt. All three contain some great writing, but it is this reviewer's opinion that the poor record sales of those three albums were a reflection on not keeping current with the trends. When Columbia did not renew the band's contract it was evident that changes needed to be made.



Another change to the mix was the addition of keyboardist Bill Champlin. Bill's husky voice renewed the sound of Terry Kath that had been missing since 1978. He also contributed his song-writing talents to the band in the tune "Sonny Think Twice."



The most memorable tune off of the album is "Hard To Say I'm Sorry." This was a huge hit for the group and has become a staple at concerts. What is unknown to anyone who isn't a fan is the tag a the end of the song, entitled "Get Away." Cowritten with keyboardist Robert Lamm, this tune is a jammin', in-your-face brass number. Having seen Chicago live four times, they extend this tag, which is awesome to listen to. The other hit for the band was the Cetera/Foster tune "Love Me Tomorrow." Though this song has received bad press, I really enjoy listening to it's simplicity. The Rhodes piano against Cetera's voice is sooooo relaxing - absolutely beautiful.



Two of my favorites off the album are two tunes written by James Pankow: "Bad Advice" and "Follow Me." "Bad Advice" is the essence of funk/fusion - great brass, syncopation, and lyrics. It just grooves. "Follow Me" is more mellow , but contains an equal amount of brass, as well as a killer guitar solo that I can only speculate was performed by Steve Lukather, based upon how often I've listed to my Toto collection.



Both Chicago and Toto are two of my favorite bands for one reason - the band members share the wealth in song-writing and lead singing. This provides a great amount of variety and allows the creativity to abound. Though Foster had a hand with this album, the essence of Chicago is still very present - you get to "Chicago 19" and that's a whole different story.



As an aside, I also like the album cover - the Chicago logo embedded into the computer chip. Talk about cool! This cover rates up there with XIV and X. If you haven't checked this album out, you need to. You won't be disappointed!"

Fine Album

radiogal | Louisville, KY USA | 07/18/2006

(4 out of 5 stars)

"The singles released from this album ("Love Me Tomorrow" and "Hard to Say I'm Sorry") are really the weakest of the bunch. "Sonny Think Twice" is one I play over and over again, and would be at home on most Smooth Jazz format radio stations. "What Can I Say" is one of the finest, catchiest ballads on which Peter Cetera has sung lead. "Waiting for You to Decide" is another that will stick in your head. Bill Champlin was an excellent addition to the band, and his vocals added the right touch of soul to Cetera's increasingly MOR influence."

Begin The Foster Era

Gord o' The Books | SE Michigan | 06/29/2006

(5 out of 5 stars)

"In this fourth era of Chicago - Laudir Oliveira is gone, and the group has decided to focus on a more relevant sound for the 80s. They bring in mega successful producer David Foster, and best of all Bill Champlin. The final solution to replacing Terry Kath ends up being - don't try to replace him . . . he can't be replaced. Instead, do what any smart organization in crisis does: reinvent yourself.



I first heard this album playing in a record store during the summer of 1982. I had all but given up on Chicago. As the songs played, I gradually began to tune in: "this group sounds familiar. Is that Peter Cetera? There's the brass - it's Chicago!" When I heard Bill Champlin singing, I knew that they had made a great move. At first I wondered if it were Jimmy Pankow or Lee Loughnane on steroids (the reason why Champlin is a good fit is because of these similarities).



Anyway - I was overjoyed at the sound of this album, and bought it. For being the most improved over a prior album, this one is clearly #1 for Chicago.



This album was the peak of their Foster era. Unlike most people, I rank it higher even than 17.



If you are even reading this, debating whether or not to buy it - I would say, buy it. I love it!"