Chicago 16
Chicago 16 is the thirteenth studio album (sixteenth overall) by the American rock band Chicago, released on June 7, 1982, by Full Moon/Warner Bros. Records.[1] Produced by David Foster, it represented a pivotal "comeback" effort following the band's commercial struggles with prior releases like Chicago 13 (1979) and Chicago XIV (1980), shifting from their signature horn-driven rock sound toward a smoother, pop-infused style with prominent ballads, string arrangements, and contributions from outside songwriters and session musicians such as those from Toto.[2] The album peaked at number nine on the Billboard 200 chart, spent 19 weeks in the top 50, and was certified platinum by the RIAA on December 14, 1982, for sales exceeding one million copies in the United States.[3][4] Key to its success were two major singles: "Hard to Say I'm Sorry/Get Away," a power ballad co-written by Cetera and Foster that topped the Billboard Hot 100 for two weeks in September 1982, and "Love Me Tomorrow," which reached number 22 on the same chart.[2][5] This release revitalized Chicago's career, introducing vocalist/keyboardist Bill Champlin as a full member and diminishing the role of founding keyboardist Robert Lamm in favor of bassist Peter Cetera's growing prominence as a lead songwriter alongside Foster.[2] However, the polished production divided band members and some longtime fans, who lamented the reduced emphasis on brass horns and improvisational jazz-rock elements that defined the group's earlier work.[2] The album's tracklist features 11 songs, including "What You're Missing," "Waiting for You to Decide," and "Bad Advice," blending adult contemporary ballads with mid-tempo rockers, all benefiting from Foster's meticulous studio oversight in Los Angeles studios.[1] Critically, Chicago 16 received mixed reviews for its commercial pivot but was praised for restoring the band's chart viability, paving the way for even greater success with follow-ups like Chicago 17 (1984).[2] Its enduring legacy lies in bridging Chicago's 1970s heyday with their 1980s pop resurgence, solidifying their status as one of the best-selling American bands with over 100 million records sold worldwide.[1]Background
Band challenges
Following the commercial peak of their horn-driven rock albums in the 1970s, Chicago experienced a marked decline in sales and critical reception by the early 1980s. Their 1980 release, Chicago XIV, peaked at No. 71 on the Billboard 200 chart and failed to achieve gold certification, marking a significant drop from the multi-platinum success of prior efforts like Chicago V and Chicago VI.[6] Similarly, the 1981 compilation Greatest Hits, Volume II (also known as Chicago 15) performed even worse, reaching only No. 171 on the Billboard 200 and underscoring the band's waning popularity amid shifting listener tastes.[7] These struggles were compounded by internal tensions within the group, exacerbated by the 1978 death of guitarist Terry Kath, which disrupted their creative dynamic and led to a period of uncertainty. The band had already severed ties with longtime manager and producer James William Guercio in late 1979 amid mounting conflicts over artistic direction and business decisions, leaving Chicago without key guidance as they navigated their post-Kath era.[8] Bassist Peter Cetera's increasing focus on lead vocals and ballad-style songwriting during this time further strained relations with other members, who favored the ensemble's original rock-oriented approach.[9] Label dissatisfaction added to the pressures, as Chicago parted ways with Columbia Records in 1981 after 15 albums, following the release of Greatest Hits, Volume II, citing inadequate promotion and support for their recent releases. The label's decision to drop the band prompted a search for new representation, culminating in a 1981 signing with Full Moon/Warner Bros. Records in a bid for revitalization.[10] Broader industry trends in the early 1980s intensified these challenges, as the music landscape shifted from progressive and album-oriented rock toward more accessible pop, synth-driven new wave, and adult contemporary formats, driven by the launch of MTV in 1981 and the rise of visually oriented acts. This evolution marginalized horn-rock ensembles like Chicago, forcing them to reconsider their sound to regain commercial footing.[11]Personnel changes
In the lead-up to Chicago 16, the band underwent significant personnel adjustments to revitalize their sound following a period of commercial underperformance with prior albums. Percussionist Laudir de Oliveira, who had joined as a session musician on Chicago VI (1973) and become a full member by Chicago VIII (1975), contributing to albums through Chicago XIV, departed in late 1981, streamlining the rhythm section to focus on core instrumentation without additional percussion layers.[8] To address gaps left by previous losses, including the death of guitarist Terry Kath in 1978, the band added keyboardist and vocalist Bill Champlin in the fall of 1981. A founding member of the Sons of Champlin, Champlin brought versatile multi-instrumental abilities, including guitar and keyboards, along with his distinctive baritone vocals and rich harmonies, which helped fill vocal and guitar roles previously held by Kath and others.[8][12] The production team also saw a pivotal change with the hiring of David Foster as producer for Chicago 16, marking his first major collaboration with the band and shifting their approach toward polished, radio-friendly pop-rock. Foster, known for his work with artists like Earth, Wind & Fire, played a key role in curating material by incorporating outside songwriters such as Toto guitarist Steve Lukather and composers Jay Gruska and Joseph Williams, whose contributions included tracks like "Waiting for You to Decide" (co-written with Foster and David Paich) and "What You're Missing," respectively, to inject fresh melodic elements.[8][13] Amid these shifts, core members Robert Lamm (keyboards and vocals), Lee Loughnane (trumpet), and Walt Parazaider (saxophone and woodwinds) were retained, providing continuity in the band's horn-driven identity. Vocal responsibilities evolved notably, with bassist Peter Cetera assuming more prominent lead duties, particularly on ballads that highlighted his soaring tenor, a trend that Foster encouraged to capitalize on Cetera's growing appeal as a frontman.[8][14]Composition
Songwriting process
Under the guidance of producer David Foster, the songwriting for Chicago 16 represented a deliberate pivot from the band's traditional reliance on internal compositions, incorporating a greater number of external collaborators to craft material more suited to contemporary pop sensibilities. Foster, who co-wrote seven of the album's ten tracks, emphasized accessible, romantic themes in the lyrics, moving away from the political and jazz-inflected narratives that had defined earlier works like Chicago Transit Authority and Chicago II. This approach aimed to broaden the band's appeal on mainstream radio, focusing on emotional ballads and mid-tempo songs that highlighted vocal harmonies and melodic hooks.[15][16] Key collaborations centered on bassist and vocalist Peter Cetera, who partnered with Foster on several standout tracks, including the album's lead single "Hard to Say I'm Sorry," a sweeping power ballad that became one of Chicago's signature hits. Cetera and Foster also co-wrote "Rescue You," "Love Me Tomorrow"—another radio-friendly single with an extended orchestral outro—and contributed to "Bad Advice" alongside trombonist James Pankow. Pankow further collaborated with Foster on "Follow Me" and "What Can I Say," blending the band's horn section with pop structures. These partnerships were developed during pre-production sessions, where demos were refined to emphasize emotional accessibility and commercial viability, such as enhancing the lyrical intimacy in "Love Me Tomorrow" to position it as a follow-up single.[15][17][13] Other band members' songwriting input was more limited compared to prior albums, reflecting internal shifts and availability issues. Keyboardist Robert Lamm, a primary composer in Chicago's early years, had limited writing credits on Chicago 16, contributing only to "Get Away" due to his unavailability during much of the production process. Vocalist and keyboardist Bill Champlin, who joined the band in 1981, co-wrote the soulful "Sonny Think Twice" with drummer Danny Seraphine, providing one of the few fully internal contributions. External writers filled additional slots, including Jay Gruska and Joseph Williams (the latter a future Toto member) on the upbeat opener "What You're Missing," David Foster with Toto's Steve Lukather and David Paich on "Waiting for You to Decide," and Canadian songwriter Ian Thomas on the Champlin-led ballad "Chains." This mix of influences underscored Foster's strategy to inject fresh perspectives while retaining core band elements.[2][17][18]Musical style
Chicago 16 represents a significant evolution in the band's sound, shifting from their earlier brass-heavy rock foundations toward a more polished soft rock and adult contemporary aesthetic.[19] This album emphasizes lush ballads driven by piano, synthesizers, and layered vocals, as exemplified by the power ballad "Hard to Say I'm Sorry," which features soaring strings and emotional harmonies.[2][20] The horns, once a defining element of Chicago's jazz-rock identity, are used sparingly here for accents rather than prominent leads, contributing to a sleek, radio-friendly polish that echoes yacht rock influences through its smooth, West Coast-inspired production.[2][20] Tracks incorporate R&B and pop structures, including straightforward verse-chorus formats in songs like "Follow Me," with its soulful horns and upbeat groove, and "Sonny Think Twice," which blends gritty verses with slick, Michael McDonald-esque choruses.[20][21] Spanning 44:37 across 10 tracks, the album balances mid-tempo grooves with slow anthems, prioritizing melodic accessibility and studio-crafted refinement over the band's prior improvisational energy.[19]Recording and production
Studios and techniques
The recording of Chicago 16 took place primarily at Bill Schnee Studios in Universal City, California, and The Record Plant in Los Angeles, with supplementary sessions at Davlen Sound Studios and Skyline Recording, both also in the Los Angeles area.[22] These facilities, prominent in the early 1980s Los Angeles music scene, provided the band and producer David Foster with access to high-end analog recording setups, including 24-track tape machines that allowed for layered instrumentation and overdubs central to the album's sound.[22] Foster, marking his first production collaboration with Chicago, emphasized a polished, contemporary rock aesthetic by incorporating synthesizers programmed and played by Toto members David Paich and Steve Porcaro, which added electronic textures to the band's traditional horn-driven arrangements.[22] Horn sections, a hallmark of Chicago's style, were recorded with multiple overdubs to achieve depth and punch, blending seamlessly with rhythm tracks captured on analog multitrack. Foster's method involved rigorous oversight of performances, drawing on session musicians to refine elements like bass and keyboards, resulting in a radio-oriented clarity that revitalized the group's commercial appeal. Mixing duties were handled by Humberto Gatica, who engineered and balanced the sessions to highlight vocal harmonies and instrumental separation, creating a clean, expansive production suited to 1980s pop-rock standards.[23] Gatica's work focused on dynamic control and subtle spatial effects, ensuring the album's tracks translated effectively across formats while preserving the organic feel of live band interactions.[24]Outtakes
During the Chicago 16 sessions, producer David Foster played a pivotal role in shaping the album by rejecting numerous band-submitted tracks deemed insufficiently commercial, favoring instead a streamlined pop aesthetic to revive the group's commercial fortunes after a string of underperforming releases. This curation process prioritized melodic, radio-friendly compositions over the band's more experimental or rock-leaning ideas, resulting in several outtakes that highlighted ongoing creative tensions within the group. Foster's insistence on this direction, while controversial among some members, contributed to the album's polished sound and eventual success.[2][25] One notable shelved track was the demo "Daddy's Favorite Fool," a Bill Champlin composition recorded during the sessions but excluded from the original 1982 release to maintain thematic cohesion. This upbeat, horn-driven number, showcasing Champlin's vocal and songwriting talents, later emerged as a bonus track on the 2006 expanded and remastered edition, offering a glimpse into the discarded material's potential.[26][27] Alternate takes from the sessions, including early versions of tracks like "What You're Missing" and "Love Me Tomorrow," were also generated but not used for the final album; these surfaced on subsequent reissues, illustrating Foster's iterative refinement techniques. No comprehensive official collection of Chicago 16 outtakes has been released, though select pieces have enhanced archival editions.[28]Personnel
Chicago members
Robert Lamm, the band's founding keyboardist and vocalist, contributed keyboards and backing vocals to all tracks on Chicago 16, while taking lead vocals on "What Can I Say," a co-write with James Pankow and David Foster that showcased his smooth, introspective style amid the album's pop-oriented shift.[29][30] Peter Cetera, on bass and lead vocals, anchored the album's commercial breakthroughs, delivering the primary vocal performances on key singles including the ballad "Hard to Say I'm Sorry" (co-written with David Foster) and "Love Me Tomorrow," both of which highlighted his emotive tenor and helped propel the record's radio success.[31] Bill Champlin, who joined Chicago as a new member for this album, played keyboards and provided vocals, including rich harmonies on several tracks such as "Bad Advice" and "Rescue You," bringing a fresh vocal texture influenced by his prior work with the Sons of Champlin.[13] The album's horn section—Lee Loughnane on trumpet, James Pankow on trombone, and Walter Parazaider on saxophone—focused on brass arrangements under Pankow's direction, adding rhythmic punch and melodic fills to tracks like "Follow Me" and "Get Away" without taking lead vocal roles, preserving the band's signature sound amid the smoother production.[29][13] Danny Seraphine, the longtime drummer, handled the rhythm section throughout, contributing to the album's driving grooves and co-writing "Sonny Think Twice" with Champlin, where his beats supported the track's upbeat energy.[29] Chris Pinnick provided guitar parts throughout the album.[29]Additional musicians
Several members of the rock band Toto served as additional musicians on Chicago 16, contributing to its polished soft rock sound under producer David Foster. Guitarist Steve Lukather provided guitar parts on the hit ballad "Hard to Say I'm Sorry," enhancing its melodic layers. Drummer Jeff Porcaro played on several tracks, bringing his signature groove to the album's rhythm section. Keyboardist David Paich contributed keyboards and synthesizer programming, adding textural depth to the arrangements.[29] Other guest artists included bassist Hugh McDonald, who performed overdubs, refining the low-end foundation across multiple songs. Trumpeter and arranger Jerry Hey handled additional horn arrangements, which helped integrate orchestral-like elements into the ballads without relying on a full orchestra.[29] Paulinho da Costa provided percussion on the album.[29] Session strings were employed for added polish on several ballads, arranged by Jeremy Lubbock, David Foster, and Peter Cetera to provide subtle orchestral depth while maintaining the album's streamlined production.[32]Release and promotion
Album launch
Chicago 16 was released on June 7, 1982, by Full Moon/Warner Bros. Records under catalog number 9 23689-1.[29] The album marked the band's debut on the Warner Bros. label following their departure from Columbia Records, positioning it as a pivotal "comeback" effort after several underperforming releases.[13] The album's packaging featured a minimalist design, including the band's logo stylized as a computer chip under a magnifying glass alongside the simple title "Chicago 16," which reinforced the band's longstanding numbering convention for albums while departing from their earlier ornate, brass-heavy aesthetics.[21] Art direction and design were handled by John Kosh and Ron Larson, with photography by Aaron Rapoport.[33] To support the launch, Chicago embarked on a summer 1982 U.S. tour, known as the Chicago 16 Tour, performing in major arenas and emphasizing tracks from the new album alongside fan favorites to reconnect with their audience and rebuild momentum.[34] The tour included various opening acts and ran through the latter half of the year, helping to introduce the refreshed sound to live audiences.[35] Warner Bros. Records focused promotional efforts on securing radio airplay for the album's ballads, particularly targeting adult contemporary stations, which aligned with the pop-oriented production and contributed to the strong initial reception of lead single "Hard to Say I'm Sorry/Get Away."[15]Singles
The lead single from Chicago 16, "Hard to Say I'm Sorry/Get Away", was released on May 17, 1982, as a medley combining the ballad "Hard to Say I'm Sorry" (3:42 in single edit) with the upbeat "Get Away" (1:24), totaling 5:06 on the A-side, backed by "Sonny Think Twice" (4:00) on the B-side.[36] Issued primarily in 7-inch vinyl format at 45 RPM through Full Moon/Warner Bros., it became the band's second Billboard Hot 100 number-one hit, topping the chart for two weeks starting September 11, 1982. An official music video for the track featured the band performing in a minimalist studio setting and aired frequently on MTV, contributing to the album's promotional push.[37] The follow-up single, "Love Me Tomorrow", arrived on September 13, 1982, running 5:06 in its album version (edited to 3:56 for radio), with "Bad Advice" (2:57) as the B-side on 7-inch vinyl.[38][39] It peaked at number 22 on the Billboard Hot 100. Like the lead single, it was distributed on cassette formats in later years, aligning with the era's shift toward portable media. "What You're Missing" received a limited promotional release in January 1983 as a 7-inch vinyl single, targeted at radio stations but not promoted as a major commercial release.[40] It peaked at number 81 on the Billboard Hot 100. These singles marked Chicago's return to pop success, with their formats reflecting standard 1980s physical media practices.Commercial performance
Chart positions
Chicago 16 achieved moderate commercial success upon its release, entering the US Billboard 200 at number 75 in late June 1982 and climbing to its peak position of number 9 on the week of September 18, 1982, where it spent one week.[3] The album remained on the chart for 38 weeks in total. It also ranked number 89 on the Billboard 200 year-end chart for 1982.[41] In the United Kingdom, the album debuted on the Official Albums Chart on October 2, 1982, and reached a peak of number 44, spending a total of nine weeks on the chart.[42] The lead single "Hard to Say I'm Sorry" became a major hit, topping the Billboard Hot 100 for two weeks starting September 11, 1982, and also reaching number 1 on the Adult Contemporary chart for three weeks beginning August 21, 1982.[43] The follow-up single "Love Me Tomorrow" peaked at number 22 on the Billboard Hot 100 in December 1982 and number 8 on the Adult Contemporary chart.[44][45]| Chart (1982) | Peak position |
|---|---|
| US Billboard 200 | 9[3] |
| UK Albums (OCC) | 44[42] |