Bill Champlin on The Vibe of Chicago 16 & 17
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- Опубликовано: 19 окт 2024
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lp.constantcon... Interview Clip #5 Bill Champlin on The Vibe of Chicago 16 & 17
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John Beaudin has been in major market radio (Edmonton, Vancouver & Calgary) for 35 years and a music journalist since 1989. He graduated from Broadcasting school as a newsman so he would have the skills to write about the artists that inspired him since he bought his first Elton John album as a teen. In the '80s Beaudin was the host of the syndicated radio show ‚”The Cross Canada Report‚” which had two versions (Rock and A/C). Beaudin was also asked to be a judge at the Juno Awards (Canada's answer to the Grammys) Twice. He has anchored every position in radio including morning and afternoon drive and was a Program and Music Director for The Breeze and California 103 in Calgary. He currently hosts an the evening show at Move Move 103.5 (formerly QM-FM) in Vancouver and on iHeartRadio.
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Bill Champlin and Peter Cetera complimented each other so well
I remember buying Chicago 16 on Vinyl back in 1997. The cetera Champlin vocal blend was deadly.
I don’t care what people say. I love Chicago 16 and 17 (although I do like the older stuff a bit better)
I love Bill Champlin and I'm fascinated by Chicago and their Foster period. Thank you for putting these interviews out there!!!
I think the most powerful song from 17 is Once In A Lifetime. Bill did sing lead. This proved once again that 17 was a Cetera/Foster album as this was shoved to the back. This should've been on the radio waaayyyy before Along Comes A Woman. IMO Lifetime was the best song on the album. Of course another Pankow well crafted masterpiece.
Love Me Tomorrow was another successful single released off of 16, Bill.
Love Me Tomorrow was also a single on 16. The music videos for Hard To Say I'm Sorry and Love Me Tomorrow were recorded the same day, in the same studio, with the same director. Please ask Bill Champlin if he remembers the name of the director.
It was so obvious, they're wearing the same clothes and are in the same setting in those two videos. It was years later that I discovered they did a video for Hard to say I'm sorry. I'd seen the love tomorrow video many times from VH1 back in the 80s.
Really enjoying your interview with Bill Champlin. Long-time Chicago fan, but I think they did him wrong. Glad to hear his side and his willingness to share that.
Once Bill left Chicago. They weren't the same.i saw them after that when lue pardini joined. Just horrible. I left after pardini sang make me smile.just horrible. Bill and Jason the best .without them nope
But did we ever hear Chicago's "side'?
@@PintoSeminars Robert said Bill was too negative. Bill replied with, "Well, Robert is not a bag of laughs, either".
Here in heart one of my favorite Chicago songs.
Such a great interview
I think "Love me tomorrow" was another single off of 16.
Was thinking that also. Maybe “What You’re Missing” too. Not sure
@@MrJsfingers Yes I believe you are correct. ‘What You’re Missing’. (Edited) was the 3rd Single, released in Jan, 1983.
1.Hard to say Im sorry. 2. Love me tomorrow. 3.What you're missing. Released in that order.
Bad Advice was a great song off that album. Too much horns for the radio
Who could replace him...Bill did vocals on a lot of the later hits and albums and were riding the waves of success. Jason couldcsing P eters part well and bill could do a lot of Terrys vocals. However there comes a time when the animosity is not worth. Both Bill and Chicago have continued enjoying success without each other as they did when Peter left.It sad to see the bad blood between all cocerned especially when its a group admired by all .But if they are not happy together why risk ruining a good thing. Still buying both Bill and chicago stuff regardless
Bill, Jason and Peter need to tour with David and call themselves The Foster Kids!
And Danny
Again thanks so much for doing this interview John! Really great, interesting stuff! Bill is one of the great musicians of his time that perhaps not enough people know about. Funny how he mentions that nobody got along in Chicago. How many times have we heard that from some of these bands that have been around a long time? Lol
There was so much talent and egos in the band, but I'm sure there is mutual respect and friendship with Robert and James and Lee.
I was a huge Chicago fan starting in 1970 and when 16 came out I thought Champlin was great. "Follow Me" was amazing.
Bill had a lot of hits from 19, my favorite was You're Not Alone.
You’re Not Alone is really good. Come In From The Night blows every other song on that album out of the water.
I lost interest after 17 although I have heard 18-19. It's like every other band where fans like the band to a certain album then it becomes a hit and miss
Please put the part number of the interviews in the future...thanks.
Great Stuff!
Great 👍
"Show Me" is an absolute monster song!!
I like the original Chicago format from CTA to XIV.. Truly, though, my favorite lineup is CTA through XI -when Terry Kath was in the band, and James William Guercio produced all those albums as well. Hindsight, I think after Terry died I think the band should’ve called it quits. Although Hot Streets, I have to admit is a decent album. It just wasn’t the same band anymore. In fact, now I think about it they probably already peaked a few years before Terry’s death. Chicago during those years.(1969-77) was a special band. They had three singers,different band member songwriters per album, and it was interesting hearing how each song played out. Although I have really no right judging Chicago 16/17/18 since I never heard their entire albums . I I do remember their singles from those albums being played on the radio when I was a teenager in the 1980s.
. I wish the band would’ve broken up after Terry’s death, and who knows maybe Danny/Peter could’ve got together with David Foster, along with Bill Chaplin & made their own group. Chicago 16/17/18 is now 40 years ago. The question is, was it worth it for Chicago to remake themselves and have a string of hits someone else’s band(Foster, and Cetera).. they made a lot of money, but I think it took their specialness away from them as a result.
THE DIRECTORS OF CHICAGO'S MUSIC VIDEOS (1982-1991)
01. 1982: Hard To Say I'm Sorry directed by ??????
02. 1982: Love Me Tomorrow directed by ??????
03. 1984: Stay The Night directed by Gilbert Bettman Jr.
04. 1984: Hard Habit To Break directed by Leslie Libman
05. 1984: You're The Inspiration directed by Leslie Libman
06. 1985: Along Comes A Woman directed by Jay Dubin
07. 1986: 25 Or 6 To 4 directed by Andy Brenton
08. 1986: Will You Still Love Me? directed by Ken Ross and Richard Levine
09. 1987: Niagara Falls directed by ??????
10. 1988: I Don't Wanna Live Without Your Love directed by Paul Boyington
11. 1988: Look Away directed by ??????
12. 1989: You're Not Alone directed by Richard Levine
13. 1990: Hearts In Trouble directed by Michael Bay
14. 1991: Chasin' The Wind directed by Michael Bay
15. 1991: Explain It To My Heart directed by ??????
THE DIRECTORS OF PETER CETERA'S MUSIC VIDEOS (1986-1997)
01. 1986: Glory Of Love directed by Peter Sinclair
02. 1986: The Next Time I Fall directed by Dominic Sena
03. 1987: Big Mistake directed by Dominic Sena
04. 1988: I Wasn't The One (Who Said Goodbye) directed by ??????
05. 1988: One Good Woman directed by ??????
06. 1988: Best Of Times directed by Jim Yukich
07. 1991: Voices That Care directed by David S. Jackson
08. 1991: Voices That Care directed by Jim Yukich
09. 1992: Restless Heart directed by Piers Plowden
10. 1992: Feels Like Heaven directed by Piers Plowden
11. 1996: (I Wanna Take) Forever Tonight directed by Steven R. Monroe
12. 1997: Hard To Say I'm Sorry directed by Cameron Casey and Bille Woodruff
13. 1997: You're The Inspiration directed by Steven R. Monroe
That's cool that Bill and Scheff are going to work together again. They can hire some horn players and there ya go, Chicago 2.0. Bill said that no one in Chicago liked each other. Seems to me the horn players are tight and Robert and James have a mutual respect for each other, that's pretty obvious
Champlin, Scheff, and Tommy Thayer? Where and when and I’m there.
Great stuff
Bill was wrong. The other top 40 hit was 'Love me tomorrow', from Chicago 16.
"Love me Tomorrow " and "What Your missing" was the 3rd single.
And, "Here In My Heart" only hit #59, and only was a hit on the Adult Contemporary charts. Personally, that means nothing. If a song is great, it's great. If it's bad, it's bad, even if it's #1 for years. I prefer 1969-1981 Chicago, but Bill is more forthright than most.
I've seen this interview before, but I love it, anyway. But what's wrong with the song, "Colour My World"?
seen both these tours. 16 at The Tower Theater, 17 at The Spectrum.
I love Bills contributions to the band. I’ve never understood how the originals, Lamm, Pankow, Loughnane, were so miserable about the bands success, with newer material, 16 & 17. After Chicago 14 came out, you could sense that their magic was gone. With their new found success, with 16 & 17, you would think they would’ve appreciated Bill’s success, but it was the complete opposite. I guess they thought they were getting away from their roots. In time, they would drive Cetera, Champlin, Bailey, Seraphine, & Scheff, just to name a few from the band.
What I always wondered was why Bill's song I Believe from 18, wasn't released as a single. That had hit written all over it. Did Chicago try to stifle him?
I agree, "I believe" was a much better song than "Will you still love me?" AND when I had the cassette it was the song I played the most on it back in 1986-87. But you hit a note there, I always wondered about that too. Excellent observation.
@@waltersimmons946 Too me, I Believe was Hard Habit to Break 2.0 but with Jason Scheff. It would've been the 5th single from the album and most artists just release 4 songs as singles from their albums. The new 25 or 6 to 4 was the first single released, followed by Will you still love me, then If she would've been faithful, and finally Niagara Falls. All great songs but so was I Believe. They should've released it either as their 5th single or substituted it with Niagara Falls or 25 or 6 to 4, which most people didn't dig anyway.
It's Alright is Another Good One from the Album, sang by Bill too.
@@lamarravery4094 Agreed in full.
When I began to really take an interest in & discovering Chicago in the late 80’s during the Chicago 19 era & also at 12 years old got to attend the Chicago 19 tour show at the universal amphitheater in Los Angeles, I recall Chicago with Champlin & Scheff was promoted as a full band & an overall logo & I liked that about the band then but around 10 years ago I noticed they began to promote the band as the 4 originals & the backup guys & to me that was just a classless move or just a move I didn’t like, I love the original records but I always considered Champlin a respectable relevant member, anyhow not digging the Chicago camp as of late.
I was 16 during their 19 tour, which they called their Victorious tour, I bought the t shirt from the concert and that's what it said. Never got to see them with Peter, but it was a great concert. I would go on to see them 4 more times in the 1990s. Last time I went to a Chicago concert was in 1999, they became a nostalgic band by then, releasing no more new hits so they got stale.
Hey Bill, Please don't cancel put of the Bonita Springs show with Jason in November. I will be there!
John does a great job! I love his interviews.
Something to believe in from the 1989 Sing soundtrack was also a great tune from Bill.
Can anyone give me a breakdown on the Chicago albums during Bill’s 28 years more specifically on 16-17 that he played on studio-wise vs Robert?
The thing I don't quite understand is that I realize Bill and the rest of Chicago had a bad break up, but seeing how deep and long the bad blood was why did it take so long for them to go separate ways? Bill did secondary vocals on the singles from 17 and 18, was featured front and centre on 19 and 21, but after the latter became a sleeper why didn't he leave then?
He mentions that the band removed Here in my Heart from their setlist as soon as they could, why not leave then? Instead he was still featured on their follow up singles (Chicago took several years off from full album recording of new material after Stone of Sisyphus was shelved by Warner) and tours.
It just seems that if things were as bad as they say they were, Bill would have left 10+ years sooner than he did.
I once asked Bill pretty much that exact question. He looked me in the eye, smiled and said "Steve - the money's REAL good"!!!!
Good point. Bill could've left after Chicago 19, like how Peter left after 17. Bill had sung lead on 3 of their top10 hits from the album, he proved he was viable and embarked on a solo career. And he did release solo albums while he was with the band, they were good albums but needed more marketing. So he stayed with the band to get that steady touring paycheck.
Champlin thought he was replacing Terry Kath, but was actually replacing drummer Dan Seraphine in directing commissons.
I just Imagine, if Bill focuses on Playing the Guitar instead of Keyboards it would have been Cool.
Champlin's worst mistake was going with Chicago... Watched him since the Opposite Six... He was his own star he should worked that...
Sonny think twice is a great song. So wanted it to be a hit. Off 16.
I am offended at this guy's "recall" of how things were ...... especially THE INFIGHTING in the group ... it was never an issue above any group UNTIL CETERA GOT A BIGGER HEAD ..... AND BROUGHT IN FOSTER TO PRODUCE THE ALBUM. The Pankow / Lamm influence and the guys playing so very long produced a really tight brotherhood. Check any of the players sentiments.
Its What Bill Didnt Say & Really didn't have the time to voice. Danny is the 1 who pitched & brought in David Foster. WHY? Because when it was time for 17- The 3 Drunk Horns were in REHAB. You might say so what. Well this was when Chicago's Ship was going down BIG TIME! Lamm was in REHAB- didnt know WHAT TIME IT WAS & DID ANYBODY REALLY CARE! So Yeah it mattered!!!!! The stuff these 4 were writing Sucked!' PETER & FOSTER didn't ruin this band! They actually were Chicagos SALVATION! Peter wanted to work. So BOTH of them worked their asses off - thats a FACT! Whether or not You personally didn't like those Ballads- feel free to ur opinion. But AGAIN IT WAS THE TREND! Every Band including Journey- Foreigner & Others were doing BALLADS! So Because of PC & DF EVERYBODY in that band got to put in a POOL! There ya go! As far as the CROC DOC- they didn't address the fact that after 17 tour- they made DEMANDS on Peter to do 18 - then take a break. My God People- 17 Tour was GRUELING! He wanted a break- they told him NO! So instead of a FACE TO FACE meeting- they sent Peter a certified letter when he was living in Malibu- that if he didnt agree with their demands- they would look for another bass player. Okay so we are talking about PETER CETERA! Hellooo! So yeah he told them ADIOS! That 🔥BLONDE was the VOICE & FACE of that band- THE FRONTMAN! And to this day CHICAGO the Band Has NEVER Been The Same. Then Screwed with Danny & Bill! SINCE 1984 when Peter left- So did I and I've Never looked back.
You keep talking about trends. A true artist doesn't follow trends - they might set them, but that shouldn't be on their minds, either. And Foster's horrible productions are exactly that, and after 15 minutes, no one in the band liked it. Music is great because humans do it, not computers, click-tracks, auto-tune, "drum machines", and in 15 minutes, it will sound like junk... But the 70s Chicago is timeless. Commerce and marketing are the enemies of music, movies, and other arts.
@@LoyalOpposition Foster's production and songwriting prowess is the reason I became a fan in the 17 era. I would argue that 70s Chicago now sounds extremely dated. Beatles records from the 60s have much better production than 70s Chicago. Eleanor Rigby sounds like it could have been recorded today. Foster embraced the technology explosion that the 80s brought to sound production and engineering. Did the tracks sound a little robotic and "sterile"? Yes! I would have liked to hear some nuances that would suggest humans were playing the instruments but he likely got caught up in synth overuse syndrome. He wasn't the only one. Having said that, I still regularly play the 17 and 18 records and enjoy them nearly 4 decades later as much as I did when they were released. When you strip away the production, the music must stand on its own. The material on 17 and 18 was extremely strong and would likely sound good with only an acoustic guitar.
In the end, music is very subjective. Personally, I can't stand most 70s era Chicago tunes with maybe a handful of exceptions. 17 to me is the quintessential Chicago album and the masterpiece of their career. Instead of poo pooing Foster in interviews, the original band members should show a little more gratitude to the guy who saved their miserable careers at the time and fattened their bank accounts exponentially. As good as the band has been in their later years, they could have been so much better if politics and egos didn't derail some of their efforts. Just ask Bill, Danny, Peter, Jason, Tris, Dawayne and Jeff.
Listening to interviews with Pankow and Lamm, Bill Champlin never existed. They wrote all the hits did all the work. Cetera simply filled in a hole in early 80s. Seraphine is not to be mentioned even though he, Kath and Walter founded the band. He was key in recruiting Cetera and later Bill Champlin and Foster. Bill's interviews are laid back full of history and outsiders view into Chicago narrative tightly controlled by Lamm and Pankow.
I don't think the "old guys" (great musicians, backbone) realize how childish they sound, downplaying Champlin, Cetera, Scheff. Regardless of what happened internally, contributions are "out there". It's ridiculous to hide names. A huge liberal democrat like Lamm should know.
Now, mistreating David Foster and his output with the band, the second chance he gave them, is not just childish. It's petty and sore loser material. When they could all stand as winners.
Hi. I'm mostly familiar with the 70s Chicago. Could you tell me some things that were said about Cetera, etc?
Here in my Heart wasn’t a big hit. Bill couldn’t sing Color My World.
FLUFF & DETOURING CHICAGO SOUND WAS A POP CRAP MOVE BY FOSTER .... buddy and egomaniac partner in crime with Cetera ..... I think people give credit for what worked while not blame for all that did not and OFFENSIVE FOSTER DISRESPECT OF A GROUP LONG SUCCESSFUL ON THEIR MERIT ...... two cooks is bad when they came lately and heavy handed.