Chicago
Chicago 16

80s, damn 80s. Musically steeped in electronics, pounding synthetic drums, and choruses, many, many choruses. To survive the decade of the "plastic age," quoting the Buggles, you must know how to navigate skillfully, or you quickly sink. Many historic bands from the '70s raised the white flag in the following decade or worse, stubbornly continued to propose their stale sound hoping to grab a spot at the bottom of the Billboard chart and save their recording contract. The Chicago already understood with "XIV" in 1980 that the worst solution is to remain anchored to the '70s. "XIV" is a limp, tired album, without edge and without noteworthy pieces. Moreover, the band's look is obsolete, so everything goes...a new phase begins. David Foster arrives in production, Bill Champlin joins on guitar and keyboards, his warm voice distantly reminiscent of Kath's. The entry of electronic drums, synthesizers in the foreground, pumping brass, and killer choruses. From this mix comes "16," the album that marks the new course of the glorious band made in the U.S.A. Help comes in writing from Toto and future Toto members (Joseph Williams for the opening with "What You're Missing") and Steve Lukather significantly contributes with his guitar. Chicago expands to outside collaborations and the result pays off. "16" is the album of the tear-jerking ballad par excellence, stadium lighter-consuming, and unique "Hard to Say I'm Sorry", a masterpiece by Cetera and Foster. Piano intro, enveloping voice, and tearfully sincere lyrics open before the entry of Seraphine's magnificent drums, strings taking us hand in hand until the overwhelming tail of "Get Away", liberating with all the power of Chicago's brass in a frantic tail well showcased live. The rest all works, the AOR power of "Love Me Tomorrow" closing the album, with yet another well-crafted string tail. Cetera and Champlin dominate vocally, "Follow Me", "Sonny Think Twice", and "Bad Advice" are all explosive episodes on the 1982 stereo systems which are still deeply eager to convert the best they can offer into sound waves.

"16" is a cunning, elegant work that gets into your head. The cover highlights modernity, the lens magnifying the band's name stamped on an integrated circuit. Surprisingly it is an AOR album that has aged very well, a cornerstone of the genre, and brings the Chicago band back to the top of all the charts. Successful operation, can you do more? Sure, "17" will.