Bill Champlin has a lot to be happy about these days. He’s got a steady gig singing and playing keyboards with Chicago, a spot he’s held since 1982. His solo album No Place Left to Fall, released digitally last year, is finally seeing release as a physical CD this week. He has his first proper solo tour lined up for November along the West Coast. And he’s surrounded by amazing musicians, people he is all too eager to talk up and rave about. Champlin’s enthusiasm is positively infectious, which is something we all could use in this day and age. Not only was Bill generous with his copious good vibes we we phoned him for this interview last Tuesday, he delved into his distant past, at our request, to give us some perspective on the San Francisco music scene where he paid his dues in the Sons of Champlin before going on to co-write the Grammy Award-winning Earth Wind & Fire hit, “After the Love Has Gone,” and racking up further hits with Chicago (”Hard Habit to Break,” “Look Away,” “You’re Not Alone”) and playing on countless other sessions. All the while, Bill has maintained a healthy “other life” with his solo work and occasional Sons reunion gigs, and the benefits clearly come across in this interview.
I’ve really been a big fan since, you know, I guess since I started looking at credits on Chicago records. And I just remember being really, really jealous that I couldn’t come out here on the west coast when you reunited the Sons of Champlin. I was like, ‘oh man, what’s goin’ on here? Why can’t I go see the Sons?’ But now I’m in San Francisco and all is well.
Well, you know, we actually kinda kept doin’ that for about, I mean up until 2005 we’d do, at least once a year we’d do like a three or four week run of just at least weekends with the Sons. And after a while it just got to the point where we pretty much played out our welcome, know what I mean? (more…)
All right, let me stop all you young ‘uns right there — 1980’s Xanadu is not a great movie, a lost treasure, or an overlooked masterpiece of fun. It’s a dreadful film, downright boring in parts, somewhat laughable in others, but not quite laughable enough to deserve the “campy cult classic” tag it’s earned through the years. But the soundtrack — well, it was stellar enough to keep the brand alive for nearly 30 years and even give the film new life as an intentionally campy Broadway musical in 2007. We all know the Olivia Newton-John hits and ELO classics from the album, but one number is my favorite, and it’s my pick for quite possibly the first mash-up ever.
In a recent 