Remembering When Chicago Moved on From Peter Cetera but Kept the Power Ballads in 1986

If you’re going to hang around for a long time as a band, you’re going to have to make adjustments now and again to your sound to keep up with the times. Those adjustments often come with tension when some members of the band resist change.

On a 1986 album, Chicago made a big change in the lead singer department. But they held on to the style that had initiated their comeback in the 80s, even though it had upset many in the band.

A Band in Transition

When Chicago debuted in the late 60s, they stood at the forefront of a wave of horn-heavy bands that brought a uniquely soulful swing to the rock music scene. They even scored a bevy of Top 10 hits in the early 70s with their musically expansive style.

But by the second half of the decade, the jammy material in which the band specialized no longer succeeded on the radio. That’s when bassist and singer Peter Cetera came to the fore with a series of hit ballads.

After a commercial lull at the end of the decade, Chicago started working with producer David Foster. Foster collaborated with Cetera on a series of smash ballads that returned the band to the limelight. But other members of the band felt pushed aside, especially with the horn section largely being replaced by synthesizers. Something had to give.

A New Voice

After Chicago 17 sold the most records in band history in 1984, the rift between Cetera and the other band members became too wide to breach. Whether he was fired or quit remains a somewhat murky distinction. The bottom line is that he embarked on his solo career in 1985.

Chicago replaced him on lead vocals and bass with Jason Scheff, son of Jerry Scheff, famous bassist for Elvis Presley’s TCB band. Bill Champlin, who’d been with the band since the late 70s, also took on more of a prominent role on vocals on Chicago 18, released in 1986.

Interestingly, the band, many of whom felt mitigated by David Foster’s approach, decided to stick with him as producer. This despite the fact that Foster continued to work with Cetera, co-writing and producing his solo No. 1 hit “Glory Of Love”. Foster was far less involved in the songwriting on Chicago 18, however, so perhaps some concessions were made.

Foster’s Last Stand

Chicago might not have been working with Peter Cetera anymore on Chicago 18. But the style that Cetera brought to the forefront certainly remained in their arsenal. The album’s two hit singles, “Will You Still Love Me?” and “If She Would Have Been Faithful…”, hew close to the power ballad formula with which the band thrived while Cetera was in the fold.

Elsewhere, Chicago 18 includes a re-recording of “25 Or 6 To 4”, a 1970 Top 5 hit for them. This time around, Scheff handled vocals, while the thundering drums made it sound very much like a Phil Collins song. The horns are a bit more prominent than on the previous 80s albums, although Foster’s synth-heavy production style still rules the day.

Despite the hit ballads, Chicago 18 didn’t sell nearly as well as its two Cetera-led predecessors. The next time around, the band went away from working with Foster. And they delivered one more chart-topper with the Diane Warren-penned, Champlin-sung “Look Away”, which was, you guessed it, another ballad.

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