Customer Reviews

No Place Left to Fall

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4 star:		(1)
3 star:		(3)
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1 star:		(2)

 

 

Bill Champlin wears the mantle of a musician's musician. He's a studio wizard. He's an in-demand vocal stylist and arranger. He shows up in places you'd expect--Toto CDs or on albums from other west coast musicians--and places you may not expect--from Amy Grant's 1988 "Lead Me On," Paulinho Da Costa's 1978 album "Happy People." He sang the theme song for the TV show "In the Heat of the Night." He's won Grammy's for writing (Earth, Wind, and Fire's "After the Love Has Gone" and George Bensen's "Turn Your Love Around"). And he's virtually unknown to the general public.

Well, except for his tenure with Chicago. And even then, folks might have a difficult time actually naming him. "Isn't he the other guy singing `Hard Habit to Break' with Peter Cetera?" Yes. "Is he the guy that sings `Look Away'?" Still yes. After that, most folks draw a blank. Even his first band--with the hint right there in the band name--don't give folks a clue as to who Bill Champlin is. That band name? The Sons of Champlin.

Like many artist, Champlin explores other musical ideas in solo albums. And last week, after a thirteen-year absence, Champlin released a new CD of all-original material. Not that Champlin hasn't been busy. He toured extensively with Chicago every year, played a large role in Chicago's Christmas CDs as well as 2006's Chicago XXX, and released a CD of new material with his first band, The Sons. With "No Place Left to Fall," many of the musical influences that have percolated in his other musical endeavors come to surface and shine.

One thing you immediately notice with any Champlin-touched tune is the impeccable musicianship. These things are slickly produced. Some might argue that they are over produced but, when you consider all the things you can do in a studio, it's Champlin's restraint that is a hallmark of his work. The thirteen songs on this new CD have lots of elements to them. It really takes some concentrated listening with headphones to make out all the little nuances Champlin deploys.

A major presence of this album is Champlin's B3 organ. For folks like me who discovered Champlin's work via Chicago, Champlin's B3 organ sound was gradually introduced, first in concert in the early 90s. It showed up on the 22nd album, Stone of Sisyphus but, then that CD was never formally released until 2008. It wasn't until Chicago's big band CD, Night and Day (1995) that the B3 organ got it studio premiere. And it's there, right on track one and playing underneath most every track. Chicago 25: The Christmas Album featured the B3 on more songs, especially on what I now consider to be the definitive take on "The Little Drummer Boy." The B3 is prominent on Champlin's other 1990s solo releases (be sure to check out "Mayday," the live recording from 1997) as well. You can tell when Champlin plays a real one, too. The organic, natural quality of a real B3 is heads and shoulders above anything a synth can produce.

All this is to say that the B3 shines on this new album. Literally, from the opening notes on track one, the B3 is spread like honey over all of these songs, sweetening and making it all just taste a little better. The coolest thing about the B3 is the judicious way most organists play the instrument. It's little tidbits here, a riff there, a counter melody under a rhythm guitar, the syrupy foundation of a swampy blues song, it's just there. The smooth, silky quality of the B3 and blue-eyed soul of Champlin's voice just go together you wonder why he didn't start sooner. Two highlights of the B3 on the new album is "I Want You to Stay" and the opening, funkified riff of "Tuggin' on Your Sleeve."

Speaking of riffs, this Champlin dude can tear it up on rhythm guitar. Not like Van Halen or any of those guys who play thousands of notes per minute. (Remember the Emperor in Amadeus: "Too many notes.") I'm talking about a competent musician who knows the instrument, what it can do, and, most importantly, how it can compliment the song in question or his singing. I know Champlin collaborated with long-time friend Bruce Gaitsch (the iTunes download does not include liner notes) but I don't know which songs on which he actually plays guitar. But any Chicago concertgoer of the past couple of years where Champlin got out from behind the keyboard and strapped on a guitar knows what the man can do. And he does it well here.

One interesting acoustic guitar-based piece on the new album is "Look Away." Yes, it's the same song that went to #1 in 1988 and was transformed into an acoustic rendition on the 1995 Night and Day tour. Champlin uses the acoustic version as a starting point but basically creates a new song. He takes the song--where the intent of the words can certainly get lost amid the trappings of a power ballad--and brings out its quite personal and painful message. It's not too big a stretch to say that if Crosby, Stills, Nash, and Young ever sang a love ballad, it would not sound too different that this version. Oh, and if you want to know the kinds of jibs and jabs the B3 can add to a song, check out this song after the whole band kicks in.

Another feature of a Champlin-created song or album are the vocal arrangements. The Chicago Christmas CD is infused with multiple voices, layer upon layer, creating a vocal mélange that is greater than the whole. The same holds true here. More often than not, Champlin sings the lead and the harmony. It works although I have to admit it's always been strange hearing a lead singer being backed up by himself. The opening vocal ensemble on "Never Let Go" is a perfect example of this type of vocal stacking. This song reminded me of the neat experiment Champlin did in the 1990s with Jason Scheff and two singers from Toto. On the CD, "California Dreamin'," the four vocalist cover famous rock songs a capella with a lead singer and the backup singers (each man takes a turn at lead) doing all the instrumental parts. How cool is it to hear "Hotel California," complete with the ending guitar solos, all done with voices. It's a little like Take 6 if you need a different avenue into your memory.

When it came time to ask Champlin to join Chicago in 1981, it seemed like a no-brainer because both Chicago and The Sons of Champlin had horns. All of Champlin's CDs have at least one song that puts the horns up front and in your face. This time out, it's the Fat City Horns from Santa Fe and the Fat City Horns. And when they say fat, they really mean it. "Stone Cold Hollywood" is that song on this album. Six horns, bleeting and blowing, complete with a nasty bari sax, man, it's like a tune from the dirty side of town. Did I mention the bari sax? Man, throw on some headphones and just listen for it. It'll make you grin like you just ate all the cranberry sauce before the Thanksgiving dinner was supposed to start. You know it's wrong but, damn, it's so good.

Bill Champlin emerged from the San Francisco scene in the late 1960s. In his outlook on life, making music, and the music biz, he's never really left that time. You go on over to his webpage and the forum there--yes, he interacts with fans--and you can get a taste of what I'm talking about. He doesn't say "thing," he says "thang." He doesn't say "love," he says "Luv," drawing it out, nodding and winking, where you know how he's meaning it. And he doesn't mince words. There's a great interview up on YouTube from earlier this year where Champlin tells you what he thinks and doesn't back down from it. A nice quality from a member of a business that too often tries to please the suits and the audience with pablum and platitudes.

And it is this truthfulness--in the music, the lyrics, the spirit--of this CD that makes the thirteen-year gestation seem short. "No Place Left to Fall" is a consummate album of songs by an exceptional musician, lyricist, and singer. Bill Champlin may not be a household name but you get the sense that he doesn't care about that stuff one way or another. Certainly he wishes mid-level artists who never get the recognition they deserve--while the talent-less phonies rake in the dough--and lends his name around. And other musicians know his reputation and bring him in for an assist. All that is well and good and part of what it takes to be a professional musician. But you can tell that it's the Music that drives him. And it is through his music that he is known...even if you don't know it. ([...])

Bill Champlin may be the best known unknown artist. Until recently, I did not know that he was the singer on "Look Away," the 1988 song recorded by Chicago that topped the Billboard Hot 100 for two weeks. I also just discovered that he sang on "Lead Me On," the title track on one of Amy Grant's best recordings. For years I followed the Sons of Champlin--one of the best unknown groups--, but lost track of Champlin once the Sons began to wane. This was before Champlin joined Chicago in 1981, becoming an integral part of the band.

He has now left Chicago (August 2009) to devote himself to his solo career. He has released a series of recordings in the past, but No Place Left to Fall is his first in more than 10 years. One might assume this to be an extension of his work with the Sons and Chicago, but that assessment misses the mark.

There are some similarities; the voice is the same and at times the sound borrows from both groups, but what sets this apart is the R&B backbone heard throughout. Having been influenced at an early age by Lou Rawls and James Brown, Champlin is a soul man at heart. That makes this work closer to the Sons than Chicago, though there are obvious pop influences. That is especially true on the title track, which could easily follow "Look Away" to the top of the charts. Chicago has done an acoustic version of "Look Away" in concert, which has now been retired by the band. A new acoustic version is part of this CD.

You can't help being reminded of Chicago on "Never Been Afraid," which includes Chicago's former lead singer, Peter Cetera. The song is a duet featuring Champlin and Michael English. The two join Cetera on background vocals, creating an all star trio.

With the exception of "Stone Cold Hollywood," which has outstanding horns courtesy of Sante Fe and the Fat City Horns, the brass associated with Chicago and the Sons is left behind for simmering, smoldering R&B with nods to rock and pop. One of the highlights is Champlin's organ and keyboard playing. He's been doing this for more than 40 years and his organ solo on the opening "Total Control" and the funky, jamming intro on "Tuggin' On Your Sleeve," is hot. Whenever I hear great art like this, the world suddenly seems alive with possibilities and becomes a brighter place.

The musicianship is stellar, and the music is not hidden under a bushel of clutter or distortion; the notes shine with a crispness and clarity such as I rarely hear. Major kudos to the producers (Bill Champlin and Mark Eddinger) and Jason Corsaro and Mark Eddinger for making these mixes such a delight to hear.

Lest you fail to appreciate what you are hearing, the CD comes with a DVD that includes a brief overview of each song. I so appreciated Champlin's humility on the personal vignettes. He even has a few words to say about Dylan and The Beatles. There is a bonus for Sons' fans: a live 12-minute version of "Gold Mine," recorded in Las Vegas.

This is a solid effort, and I know from communicating with Champlin, that he is already collecting songs for his next solo outing. For fans of the Sons, this is the next best thing to a new Sons' recording. If you like R&B, this is your chance to hear Champlin cut loose on the music that is part of his being.

So sad to see the legendary BC depart from Chicago but this album certainly helps take the sting out of that painful transition. This is a highly soulful, well produced, gritty album (typical BC) that at times, throws musical caution into the wind. If this is what we have to look forward to in BC's post Chicago era I am excited about the future. Chicago's loss is without question our musical gain. Hands down his BEST solo album to date.

I can't wait for my copy of the cd/dvd to be shipped after listening to the tracks online.....just an outstanding effort and the best solo work since Burn Down the Night!!!!! Definitely worth a listen. Once the cd is released here guess what the entire family is getting for Christmas!!!!!

I have known Bill for a long time. I love all his work. I actually think this is his best so far. I can not get enough of this music. I not only highly recommend it but if you buy one CD this year, this is the one. One of the songs has a U2 flavor, one is a swampy blues, some rock, etc. It is great music from a great musician.

Bill is "one of the catz", he's been recording and touring since the late 60's. First with a horn band called The Sons of Champlin. In the late 70's he was one of the in demand session back-up singers and also co- wrote the Grammy winning Earth Wind and Fire hit "After The Love Has Gone". In the early 80's he joined the band Chicago. His bluesy voice was a perfect fit for the band as they had lost one of their singers Terry Kath, who also had a bluesy voice. He stayed with them right at 30 years, doing the occasional solo project. One of which was the theme song to the TV show "In The Heat Of The Night". In about 2009 Bill left Chicago to record and promote "No Place Left To Fall". He is joined vocally on the album by his wife Tamara and his son Will. This CD is not just good it is very good as I say he is one of the "catz". He exudes cool and his music is hot. As you listen to his voice, he has the soul of the late Lou Rawls. Best known for his B-3 Hammond work, he is a solid lead guitar as well. Chicago is going to miss him, but if he keeps putting out albums like this, he's got a great career ahead.

I was a fan of his back when he was a solo artist before he joined Chicago. I thought he was a great fit for the band and enjoyed his contributions with them. Now he's a solo artist again, and hopefully will be producing more works like this (which was created during his period with Chicago). Like any album there are some tracks that are better than others, but overall this is a good listen. He even does one of his older tunes ("Look Away") that he recorded with Chicago many years ago, and it's interesting to hear a different perspective or style on the song from the guy who wrote it.

Champlin's at odds with himself: A pop singer who wants his band to play the 'hippest' stuff every minute. These two concepts can't always live together successfully. Example: On "Total Control", the snare drum anticipates the '2' ; hip, funky, & great for instrumental sections..but when the verse comes in, it fights with the vocal, calls too much attention to itself, & leaves the singer to either sound like he's lagging behind, or sing an awkward, anticipating melody. A nice solid '2' & '4' might be less impressive to young drummers, but it'd sound better. (Besides, what Bill thinks is hip is actually quite dated, anyway.)

I have been a fan of Bill Champlin even before he joined Chicago. I just recieved this CD and it is AMAZING. It is a shame that it won't get radio play, it puts EVERYTHING being broadcasted today to shame. Mr. Champlin is an amazing writer, player, and singer...he was WAY under-used in Chicago. Please keep the music coming Bill, and don't wait another 10 years for a release.

I have almost all of Bill Champlin's recordings even back to the days of the LP and the Sons of Champlin albums. This CD is good, but for me it just wasn't as powerful as some of his others. Still worth listening to and I hope it grows on me.