Although they had a moderate hit with 1978's Hot Streets, for all intents and purposes Chicago had been adrift since the tragic death of Terry Kath in January of 1978. Chicago 16 is where the band finally righted itself, in no small part due to the addition of guitarist/keyboardist Bill Champlin, the namesake of the '60s San Franciscan psychedelic outfit the Sons of Champlin, who in addition to joining the band brought into the circle the producer who would change Chicago's commercial fortunes: David Foster. The Canadian producer had worked with Champlin on a solo album, Runaway, which made a very small ripple on the Billboard charts upon its 1981 release, but did pave the way for the sound that Chicago developed on 16. Under the direction of Foster, Chicago turned away from any lingering jazz-rock roots they had, and they also backed away from the disco aspirations that sank their turn-of-the-decade platters. Instead, they pursued a glistening modern pop sound, anchored with dramatic drums, built on synthesizers, decked out in arena rock guitars, layered with harmonies, and stripped of any excesses -- which by and large included Chicago's famed horn section, which was now used for punctuation instead of functioning as the center of the group's sound. This was no-nonsense, all-business, crisp and clean pop for the Reagan era, and it not only became a smash hit for Chicago -- reaching the Top Ten, thanks to the singles "Hard to Say I'm Sorry" and "Love Me Tomorrow" -- it defined Foster's sound, which in turned defined adult contemporary for the '80s. It may not have been too faithful to Chicago, at least what the band was in the '70s, but amidst '80s adult pop, it's a high watermark -- and a lot punchier and tougher than the singles would suggest, too, since almost all of the album tracks are relatively high energy and soulful. And since this finds Foster hitting his groove as a producer, 16 is always a pleasure to listen to even when the songs themselves tend toward the forgettable. Again, it's not necessarily an album for fans of Chicago the musicians, but those who love Foster the producer and the two singles on 16, this record is an entertaining period piece. [Rhino's 2006 reissue of 16 is remastered and contains one bonus track in "Daddy's Favorite Fool," a previously unissued -- and pretty good -- demo by Champlin.] ~ Stephen Thomas Erlewine, All Music Guide
Chicago 16 is the sixteenth album by Americanrock band Chicago and was released in 1982. The album marks the beginning of a new era for Chicago. It is the first album in a decade-long association with new label Warner Bros. Records; the band's first project to be produced by David Foster; and their first bona fide hit album since 1978's Hot Streets, giving the group a significant and lengthy "second wind" in commercial fortunes, in some ways eclipsing their considerable 1970s successes.
The band had realized in 1981 that their commercial appeal and image were at an all-time low. So they brought on Bill Champlin as keyboard player and singer, a man who successfully replaced Terry Kath vocally in the band's sound. But it was through the band's manager, Jeff Wald, that producer David Foster would make contact with the band.[1]
Once they agreed to Foster producing their new album (The band had considered him for 1980's Chicago XIV), Foster radically redefined Chicago's sound for the 1980s, with all of the latest technologies and techniques and introducing the significant use of outside songwriters and studio players. (Four members of Toto lent their expertise to the sessions.) Given the use of the new recording technology on this album, it's fitting that the album cover features the famous band logo grafted onto a silicon computer chip.
Of all the band's members, Peter Cetera benefitted most from the stylistic changes, having much in common musically with Foster. Their adult contemporary leanings permeated much of Chicago 16, swaying the band further from their ensemble jazz and rock roots and successfully introducing Chicago to a new and younger audience. The Foster/Cetera partnership helped steer Chicago through uncharted waters. The band was moving to a new label after an entire career at Columbia, and was doing so with a new member (Champlin), and without the late Terry Kath. Robert Lamm was also unavailable for the majority of the album's production due to personal issues, and the once-prolific writer only shared a sole partial writing credit on the release. Percussionist Laudir de Oliveira had also left the band between Chicago XIV and 16.
Upon its June 1982 release, Chicago 16 proved a big hit album, especially as "Hard to Say I'm Sorry" became the band's second #1 US single, and the album ultimately went platinum, reaching #9, rescuing Chicago's career in the process. The single would also be included in its lengthier form "Hard to Say I'm Sorry/Get Away" (featuring the hard rocking 'Get Away' tag) on the "Summer Lovers" movie soundtrack. "Love Me Tomorrow" would prove to be another hit single from the album, with the song featuring a lengthy orchestration at the end.
The Rhino remaster does not include the full length versions of "What You're Missing" and "Love Me Tomorrow," instead replacing them with their single edits. However, it does include a Bill Champlin demo called "Daddy's Favorite Fool", as a bonus track.
The original UK LP release contains "Rescue You" prior to "What Can I Say", unlike subsequent releases of this album.
