Customer Reviews

Chicago 16

5 star:		(10)
4 star:		(7)
3 star:		(3)
2 star:		(1)
1 star:		(2)

 

 

Say what you want about Chicago 16--it all but brought them back from the brink of death.

After 3 mediocre to dreadful albums, 2 producers, 2 guitarists & no top 50 songs after 1978, the hit machine appeared to be cranking it's last.

16 popped up in Spring 1982 out of nowhere with little to no hype or support. Included in the package was a dynamic new producer in David Foster, and a stunningly talented new member in Songwriter/Vocalist/Multi-instrumentalist Bill Champlin. Also part of the deal were countless session musicians, a very hands-on producer re-writer in Foster, more cover tunes, and a greater reliance on synths & artificial sounds. And much more Peter Cetera.

16 & even more so it's successor managed to squeeze every last drop of the best out of these elements. Cetera's ballads (HARD TO SAY I'M SORRY and LOVE ME TOMORROW) charted a huge #1 & #22, and the other was a flat out winner (WHAT CAN I SAY). Out of the cover tunes (WHAT YOU'RE MISSING, WAITING FOR YOU TO DECIDE, CHAINS) 2 hit the bullseye with great hooks & arrangements, and key session work from TOTO's Steve Lukather & Steve Porcaro. Foster with his hands on knew just when to switch vocalists, program a classical line on the synth, or add that unforgettable bridge. In 1982, the B-I-G drums sounded state of the art.

James Pankow returned with the tough, brassy BAD ADVICE, and importantly, Champlin added his grammy award winning vocals & compositional skills to hit hard with FOLLOW ME & SONNY THINK TWICE. The addition of Champlin's gritty yet melodious tones gave Chicago a versatility unheard since the early days. Only a true fan wondered where the hell Robert Lamm was for this album...

A couple of clunks (Ian Thomas's? CHAINS, Cetera's very blah, hornless RESCUE YOU, plus, I really think LOVE ME TOMORROW is just awful), but 16 plowed the way for the band's biggest album ever 2 years later--and more importantly, kept them from the cold earth of the Bargain Bin.

The title of this review indicates my age, I guess, as "Hard To Say I'm Sorry" was the first Chicago song I ever heard. Nonetheless, I have listened to Chicago's best of the '70s and '80s over the past 20 years and am still in love with most of it. This comeback album, as others have accurately termed it, was and still is a gem in my music collection.

No, it is not the best Chicago album. Some of the classic '70s stuff is of course better, as are some of the later efforts in the '80s. Nonetheless, this is well worth a listen.

"Hard To Say I'm Sorry" is one of the first singles I fell in love with as a kid growing up, and it still sounds great. A unique song in its day, and a beautiful ballad and huge hit. The other big single on the album, "Love Me Tomorrow" is also great in my opinion; I don't understand why it is so widely criticized. I had never before heard a sound quite like the end of that song--when the electric guitars and violins blend together as the song (and album) comes to an end.

It is a shame that Robert Lamm was such a small part of the band at this time, but Peter Cetera and (on a few tracks) newcomer Bill Champlain shine on the vocals. And for sure, such tracks as "Waiting For You To Decide" and "Rescue You" are fine rockers of a sort--with an '80s flair, of course. The horns are still present on many if not most of the tracks as well at this point, including on the lead track and obscure top 100 single "What You're Missing"--a mid-tempo track.

This truly was a transitionary period for the band that gave them new life. For many who were around when the band originally came to be, this was the end of the band's relevance. But for someone like me, who grew up in the '80s, this band was a true highlight on the popular music scene. If you like strong harmonies and beautiful songs with a bit of rock flare, this album is definitely recommended. Call my overall ranking 4 3/4 stars--just a notch below their best efforts.

Chicago 16 is the band's 2nd album of the 80's (the 1st being the underrated 'Chicago XIV', which was released in 1980). This album would mark the band's transition into a ballad hit machine with the songs 'Hard to Say I'm Sorry/Get Away' and 'Love Me Tomorrow', which are both good. On a review about Chicago 19 I mentioned the band's selection of hits/singles. While 2 ballads were chosen, the band could've easily picked 'What You're Missing', 'Waiting For You To Decide', 'Bad Advice', 'Follow Me', and/or even 'Rescue You'. All of the following songs could have, would have, and should have been great hits. But since turning into a ballad machine saved Chicago, I guess it was best for them to do so. I still love this album, though.

The main aspect of Chicago 16 is that it brought Chicago back into the area of a Top 40 fan's pop sensibilities, early 1980's fashion. The lead single, "Hard To Say I'm Sorry", did the critical initial task of getting radio airplay and staying in rotation beyond the "death cutoff" of two weeks, when a song would be pulled because it hadn't generated any interest within 14 days (such is pop music life!). Of course as music history, it was significant because "Hard To Say I'm Sorry" became a #1 seller and airplay staple, pushed sales of Chicago 16, and got Chicago a new image. And as a collection, Chicago 16 is far stronger for the production path taken than what happened in Chicago 13 or 14 (15 was the second greatest hits album).

While refreshing in its new style, there are fading trails of older Chicago-pop styles, gone by the next album. "Get Away" is an exceptional track because the horns are essential to the arrangement. I only had problems with the album when songs seemed arranged with the horns as an afterthought. The Chicago style did not always rely on the horns (or brass) in the time before Chicago 16, but it would begin here, and make itself apparent later on, that the sound would become synthesized, and as such blended in with everything else. Other than that one issue, I enjoy this album musically, and for its historic place in the story of Chicago.

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.

New producer David Foster took a strong hand in the making of Chicago 16, co-writing most of the album's songs, also it was Bill Champlin's first album as a Chicago member. Memorable songs such as "Hard To Say I'm Sorry", "What You're Missing?", "Rescue You" and "Love Me Tomorrow" brouqht Chicago back to another generation of rock n' roll fans.

By 1982, all it required was an official announcement: Chicago was dead. Their last two studio albums had sold poorly. Columbia, their long-time bosses, let their contract lapse. They lacked a lead guitarist/frontman with a distinctive growl. It looked like they were going to fold....or open for Wayne Newton in Vegas.

But then, resurrection. Reprise Records (Warner Bros.) signed them. They hooked up with keyboardist/guitarist/vocalist Bill Champlin--a session man with all the right tools. Champlin turned them on to producer David Foster. Foster re-wrote the band's slated tunes, modulating them and adding his distinctive style. A few original numbers by outsiders filled out the set, and--voila!--the result was CHICAGO 16.

The band rocked again.

"Hard to Say I'm Sorry" is the monster hit, a Pete Cetera ditty with a definite hook, but the best stuff here never made it to the radio. Far better are the brassy, balls-out rockers "Follow Me," "Bad Advice," and "What You're Missing." Champlin makes his presence known with the dark and funky "Sonny Think Twice." In fact, the set showcases the band strutting with new life; all that's missing are meaningful contributions from Bobby Lamm--the once-brilliant tunesmith ("Saturday In the Park," "Beginnings") is strangely muted here--due to a series of personal problems that he'd probably be glad to forget.

In retrospect, this is probably the pinnacle of the band's involvement with Foster. Unlike the follow-up ("17"), 16 seems to flow as a whole. The production is consistent throughout, and gorgeous vocal arrangements effectively vie with the brass on song after song.

This is not to say there aren't snags. Covering "Chains" is not really a good idea, and two sappy Cetera tunes ("Rescue You," "Love Me Tomorrow") unfortunately anticipate his eventual solo career. But the bottom line is that CHICAGO 16 is a worthy addition to your CD collection if only to share in the joy a rebirth brings.

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!

The main aspect of Chicago 16 is that it brought Chicago back into the area of a Top 40 fan's pop sensibilities, early 1980's fashion. The lead single, "Hard To Say I'm Sorry", did the critical initial task of getting radio airplay and staying in rotation beyond the "death cutoff" of two weeks, when a song would be pulled because it hadn't generated any interest within 14 days (such is pop music life!). Of course as music history, it was significant because "Hard To Say I'm Sorry" became a #1 seller and airplay staple, pushed sales of Chicago 16, and got Chicago a new image. And as a collection, Chicago 16 is far stronger for the production path taken than what happened in Chicago 13 or 14 (15 was the second greatest hits album).

While refreshing in its new style, there are fading trails of older Chicago-pop styles, gone by the next album. "Get Away" is an exceptional track because the horns are essential to the arrangement. I only had problems with the album when songs seemed arranged with the horns as an afterthought. The Chicago style did not always rely on the horns (or brass) in the time before Chicago 16, but it would begin here, and make itself apparent later on, that the sound would become synthesized, and as such blended in with everything else. Other than that one issue, I enjoy this album musically, and for its historic place in the story of Chicago.

"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!