Written by Peter Cetera & Bill Champlin

 

”Remember The Feeling” was a beautiful ballad recorded by the American supergroup, Chicago. In 1984, Chicago included “Remember The Feeling” on their multi-platinum bestseller, Chicago 17.

Co-written by Peter Cetera and Bill Champlin, the song had the same distinctive musical elements of “Hard Habit To Break” and “You’re The Inspiration,” two mega-hits from Chicago 17. “Remember The Feeling” features Cetera’s superb vocals, Foster’s gorgeous perfomance on the acoustic piano and Chris Pinnick and Mike Landau playing the rousing electric guitars. The tune exhibited strong classical echoes thanks to the exceptional Jeremy Lubbock’s (1931-2021) orchestral arrangement. The serenade was quite a musical challenge thanks to Foster’s inventive arrangement and clever rhythm changes. The masterful production by Foster and the pristine work of engineer Humberto Gatica on this song and the whole Chicago 17 album were rightfully rewarded at the 1985 Grammy Awards. Foster walk away with a trophy for Producer of the Year (Non-Classical) and Gatica with the Best Engineered Recording (Non-Classical).

“Remember The Feeling” was the b-side of “Hard Habit To Break.”

Unavoidably, “Remember The Feeling” was overshadowed by the huge success of “Hard Habit To Break.” We suggest you to rediscover its great potential that could have easily delivered another top hit for the veteran group.

To round out this review, here are a few words from Foster about this recording:

“’Remember The Feeling’ was a really nice ballad. I clearly remember Peter (Cetera) saying that he wanted us to try and write a waltz kind of song. Eventually, he and Bill did and I worked on the arrangement. Peter, as usual, sounded spectacular on it and I really enjoyed those chord changes.”

• Lead Vocals: Peter Cetera
• Acoustic Piano: David Foster
• Keyboards: David Foster & Bill Champlin
• Drums: Danny Seraphine
• Guitar: Michael Landau & Chris Pinnick

• Strings Arranged by Jeremy Lubbock
• Produced & Arranged by David Foster

Lyrics

Shadows were hiding what I couldn’t see
Out in the dark, she was calling to me
Calling to me with a voice I’d never forget

She was a vision I couldn’t believe
I held her close so that she wouldn’t leave
Suddenly helpless, hopelessly falling in love

I remember the feeling
I remember the way
She came and then wrapped her arms around me
Told me that she cared
Said she’d always be there

Taking me places I’ve never been
She had the beauty that comes from within
Was I just dreaming?
Was it too good to be true?
I was a man all alone in the night

She came along, and she showed me the light
I was confused, then she told me the way
I was alone, and I begged her to stay
She was alive, I was caught by the fire

She brought emotions that filled my desire
I should have noticed that something was wrong
When I awoke, she was gone
I remember the feeling

I remember the way
She came up and wrapped her arms around me
Told me that she cared
Said she’d always be there
She was alive, I was caught by the fire
She brought emotions that filled my desire
I should have noticed that something was wrong
When I awoke, I could see that she was gone

Written by Bill Champlin & Kenny Loggins

Bill Champlin’s sophomore solo effort, Runaway, was released in 1981. David Foster was again in the producer’s seat. Together, the two friends crafted a well-dosed collection of pop/rock numbers and refined ballads. Despite its strong potential, Runaway didn’t do much on the charts with just a four week stay on the Billboard Top 200, eventually peaking at #178. The album spawned a couple of minor hits on Billboard’s Hot 100 with two gorgeous ballads, “Tonight, Tonight” and “Sara.” Both songs were perfectly arranged melodic masterpieces that deserved more attention given their radio-friendly appeal.

Another standout track on Runaway and the pick for this week was the bouncy rocker “Take It Uptown.”
Co-written by Champlin with Kenny Loggins, who also co-produced the track with Foster, “Take It Uptown” was a catchy song with a delicious sixties feel, fantastic vocal harmonies and top-notch production. The all-star team of musicians on the track included sessions giant John Robinson on drums, John Pierce on bass, Foster on rhodes, Jay Graydon on guitar, Tom Scott playing the burning tenor sax breaks and solo plus the Jerry Hey Horns. Champlin was in his prime here with a lead vocal that embodied his soulful and gritty performance that’s a total stunner. Champlin also appeared on piano and shared some spectacular vocal harmonies with Loggins and Richard Page. “Take It Uptown” had “hit” written all over it like many others moments on Runaway. Unfortunately, that didn’t happen for the absolute lack of support and promotion from the Elektra label. 

Right after recording Runaway, Champlin became a full member of the supergroup Chicago and, together with Foster and Peter Cetera, was one of the creative minds that brought another amazing run of success to that legendary band.

As usual, The Hitman has been asked to provide a few words about his work on that Champlin album and this is what he sent:

“I really had a great time making Runaway with Bill who is a true Renaissance, one of a kind, singer/ songwriter. I always love when I’m put into situations where an artist like Bill makes me work hard to go outside of my comfort zone. Bill sure allowed me to do my thing, but also taught me a few things about the way he makes his music which is more “organic” than mine. Working with him was a true, great experience for me. Actually, I don’t remember working with Kenny Loggins on “Take It Uptown,” but I do think that song is very good.”

Listen

• Lead, Backing Vocals & Piano: Bill Champlin
• Guitar: Jay Graydon
• Fender Rhodes: David Foster
• Drums: John Robinson
• Bass: John Pierce
• Tenor Saxophone: Tom Scott
• Backing Vocals: Kenny Loggins & Richard Page

• Horns Arranged by Jerry Hey
• Arranged by David Foster & Bill Champlin
• Produced by David Foster & Kenny Loggins

Lyrics

I know you’ll be satisfied
If you’ll take a chance
Steppin’ in time, stay by my side
Welcome to the dance
So turn it up, I’m burin’ up
Got to cool me with your ooo, ooo, music
Come on
I want everybody to sing Hey Now
Hey Now, Hey Now, Hey Now

We’ll take it uptown tomorrow
I’ll make it a night you won’t forget
And if I have to beg or borrow
We’re gonna be side by side tomorrow night

Some say love should hesitate
But I say that’s a crime
Sure you’re not in love today
But take one at a time

Get your saxophone, squeeze it all night long
I got to hear a little “Midnight Hour”
Come on
I want everybody to sing Hey Now
Hey Now, Hey Now, Hey Now

We’ll take it uptown tomorrow
I’ll make it a night you’ll never forget
And if I got to beg or borrow
We’re gonna be side by side

We’ll tear it up and down tomorrow
You’ve never see nothin’ like us yet
Take hold of my hand, hold my hand
Gonna be side by side tomorrow night

Get your saxophone, squeeze it all night long
Gotta move me with your ooo, ooo, music
Come on
I know you’re just dyin’ to sing Hey Now
Hey Now, Hey Now, Hey Now
We’ll take it up

I’ll take you uptown tomorrow
I’ll make it a night that you’ll never forget
And if I got to beg or borrow
We’re gonna be side by side tomorrow

Take it uptown
Take it uptown
Hey Now, Hey Now
Take it uptown
Take it uptown
Oh, honey won’t you think about it
Take it uptown
Take it uptown
We’re gonna be side by side
You and I Hey Now
Take it uptown
Take it uptown

Written by Bill Champlin & B.J. Cook

“There are many reasons why I loved working with Bill Champlin. We were more aligned musically than what  it looked like on paper. Bill had a rawness that I didn’t have and I really loved that. To his great credit, he allowed me to get all my musical licks on tape but he never felt (I think) like he compromised. My sound was obviously slicker than his (that cool Bay Area raw rock and funk) but we met in the middle and I think the result was fantastic. He’s one hell of an artist, singer, musician and songwriter. He’s unique. Not many people are like that, for example I can’t really say that I am unique like he is!”

David Foster’s heartfelt words about his old pal were perfect to begin this new review about Bill Champlin’s Single. Released in 1978, Single was Champlin’s debut solo album after his decade of critically acclaimed work with The Sons Of Champlin in San Francisco. After The Sons Of Champlin went on hiatus, Champlin moved to Los Angeles and signed a solo deal with Full Moon/Epic. Champlin said he basically forced the label to accept David Foster to produce the record after the two met at a The Sons Of Champlin’s session a couple of years before.  They had a mutual fan club; the bay-area singer/songwriter was struck by Foster’s superior musicality and creativity while Foster was wowed by Champlin’s vocal chops and songwriting abilities. 

 Single was one of Foster’s first productions, but the end result was truly fantastic in musicianship and sound. The album, a killer mix of pop, funk and R&B, didn’t sell much, but it became an all-time favorite among musicians and fans. Champlin recalled that the great Maurice White (1941-2016), who was working with Foster on Earth, Wind & Fire’s I Am and famously recorded “After The Love Is Gone” originally intended for Single, was so impressed by the rest of the material to ask the blue-eyed soul legend for a couple more tracks for White’s group. Champlin couldn’t accept the request, but it spoke volumes on the quality of his tracks.

 These pages already saw reviews of Single‘s highlights including “We Both Tried,” “Fly With Me” and “Keys To The Kingdom,” but the album was chock-full of goodies. This week, the pick was a soulful mid-tempo titled “Careless.”

Co-written by Champlin with Foster’s first wife, the great B.J. Cook, “Careless” was a sultry gem with clever rhythm changes and tight musicianship. A nice touch was Michael McDonald’s guest appearance who, along with Carmen Twillie and Venetta Gloud, brought an intense gospel feel to the vocal harmonies. The basic track saw Champlin and Foster joined by Ray Parker, Jr. and his Raydio bandmates giving an end result of a total R&B party. Champlin was at the top of his game on Single and delivered one smash performance after another. “Careless” was no exception with Champlin’s outstanding work on the lead and backing vocals.

 Let’s not forget that Single marked the first collaboration between Foster and Humberto Gatica. Gatica was another monster talent who was already showing the goods that will soon make him one of the world’s most respected studio engineers.

Listen

• Lead Vocals: Bill Champlin
• Keyboards: David Foster & Bill Champlin
• Bass: David Shields
• Drums: Larry Tolbert
• Guitar: Ray Parker, Jr.
• Percussion: Paulinho da Costa
• Background Vocals: Bill Champlin, Michael McDonald, Carmen Twillie & Venetta Gloud

• Strings Arranged by David Foster
• Arranged by David Foster & Bill Champlin
• Produced by David Foster

Lyrics

No Lyrics

Written by David Foster & James Pankow

Released in the Spring of 1984, Chicago 17 was one of the pivotal projects of David Foster’s entire career. That record’s perfect pop sounds brought the veteran band four huge Top 40 hits including “Hard Habit To Break,” “You’re The Inspiration,” “Stay The Night,” “Along Comes A Woman” plus multimillion sales that total today over six million copies in the US alone. With Chicago 17, Foster basically shaped the pop/adult contemporary genre that dominated the radio waves of the Eighties.

Chicago 17 perfected the match of Foster’s superior talents as a musician, songwriter, arranger and producer with Peter Cetera’s blooming skills as a singer/songwriter. They both were at the peak of their creativity and the results were astounding. Cetera’s voice and personality were in the spotlight on most of the project but there were some album tracks that didn’t feature him but were total ear candy just the same. Previous reviews of “We Can Stop The Hurtin’” and “Please Hold On” are perfect testaments of this statement. Chicago 17 had some fantastic contributions by Bill Champlin. From his duet with Cetera on “Hard Habit To Break” to his soul-drenched vocals throughout the album, you can hear Champlin’s influence. Chicago’s main guys, James Pankow and Robert Lamm, were also in good form. One superb example was “Only You,” the choice for this week’s review.

Co-written by Foster and Pankow, “Only You” was an irresistible mid-tempo. Lamm and Champlin shared the lead vocals and sang most of the vocal harmonies on this light/funk number arranged by Foster. Session great Paul Jackson Jr. added some nasty rhythm guitar licks while the Hitman played keyboards and a grooving moog bass. The legendary Chicago horns shone on “Only You” by delivering their trademark sounds. This jam was a state-of-the-art music affair and eventually became the b-side of “Stay The Night.” This timeless project rightly brought Foster and his engineer, Humberto Gatica, Grammys as “Producer of the Year” and “Best Engineered Recording,” respectively.

Listen

• Lead Vocals: Bill Champlin & Robert Lamm
• Drums: Danny Seraphine
• Keyboards & Bass Synthesizer: David Foster
• Guitars: Paul Jackson, Jr.
• Trombone: James Pankow
• Saxophone: Walter Parazaider
• Trumpet: Lee Loughnane
• Backing Vocals: Bill Champlin, Robert Lamm & Peter Cetera

• Arranged by David Foster
• Horns Arranged by David Foster & James Pankow
• Vocals Arranged by Bill Champlin & Robert Lamm

• Produced by David Foster

Lyrics

Hold me forever
Whisper the words I’ve waited so long to hear
Love’s sweet surrender
Steals an embrace and kisses away the tears

Lookin’ back down the road of love
We can still feel the heartache
Pain and joy of an unrelenting love
Hold us together

Only you
You’ve got control
Only you
You’ve got the key to my heart
Only you
You’ve got control
Need your love, take me forever

Sad empty faces
Faded away when I fell in love with you
True love erases
Fear and the doubt not knowing we’d see things through

So in
In a world of illusion
We fell in love until the end of time
True love, forever

Only you
You’ve got control
Only you
You’ve got the key to my heart
Only you
You’ve got control
Need your love, take me forever

Lookin’ back down the road of love
We can still feel the heartache
Pain and joy of an unrelenting love
Hold us together

Only you
You’ve got control
Only you
You’ve got the key to my heart
Only you
You’ve got control
Need your love, take me forever

The now classic Chicago 16 was released in June 1982. Produced by David Foster, Chicago 16  brought the band back to the top of the charts. The main ingredient for this comeback story was the worldwide hit “Hard To Say I’m Sorry,” co-written by Peter Cetera and Foster and already reviewed on the website.

Other important reasons that factored into Chicago’s resurgence were the group’s superior musicianship, Foster’s spectacular work behind the glass and Cetera’s crystal-clear voice at the pinnacle of his career. Another thing that can’t be overlooked was the unprecedented vocal interplay between Cetera’s tenor and Bill Champlin’s soulful and gritty baritone. Champlin was the new name in the band, but already had a long and illustrious career in the music business. Cetera’s and Champlin’s vocal blend truly took Chicago’s harmonies to a new level on the album, but were especially impressive on a couple of songs. The first was another past Song of the Week; the funky and soulful “Bad Advice” while the other was the pick for this week, “Waiting For You To Decide.”

This pop/rock mid-tempo was co-written by Foster with two of his pals and legendary Toto members, David Paich and Steve Lukather. On “Waiting For You To Decide,” Cetera and Champlin traded lines with immense class while they were backed by the trademark Chicago Horns. The Chicago Horns were quite up-front compared to other songs on this record, thus giving “Waiting For You To Decide” a flavor of those classic Chicago albums of the seventies as well as echoes of Toto’s refined rock. Foster and Paich added some colorful keyboards and synths to the recipe while Lukather took care of the top-notch guitar riffs.

“Waiting For You To Decide” was a great example of the catchiness of the Fosterized version of the Chicago supergroup. No wonder Chicago 16 went on to sell millions around the world and paved the way for the even bigger success of Chicago 17.

Listen

• Lead & Backing Vocals: Peter Cetera & Bill Champlin
• Keyboards: David Foster
• Synthesizer: David Paich
• Synthesizer Programming: Steve Porcaro
• Drums: Danny Seraphine
• Bass: Peter Cetera
• Guitar: Steve Lukather & Chris Pinnick
• Saxophone: Walter Parazaider
• Trumpet: Lee Loughnane
• Trombone: James Pankow
•  
• Rhythm Arrangements by David Foster, Peter Cetera & Danny Seraphine
• Horns Arranged by James Pankow & David Foster
• Background Vocal Arrangements by Peter Cetera & Bill Champlin
• Produced & Arranged by David Foster

Lyrics

Used to think that you’d do anything for me.
I thought your heart was pounding at my door.
Now it seems that things aren’t right.
You’ve been crying every night.
You’re rainy season just ain’t slowing down.
I still love you even though there’s things you can’t explain.
I don’t want to know if you’ve been lying all along.
You’ve been running away. now you’ve run out of places to hide.
I can no longer stand here waiting for you to decide
If there’s a heart still left inside.
There’s someone watching tonight.
You’ve been trying for some time to get away from me.
It’s just the same old game you’ve tried before.
We’ve talked it out a thousand time. it’s still the same old useless lines.
You’ve made your point now why can’t i make mine?
I still love you even though there’s things you can’t explain.
I don’t want to know if you’ve been lying all this time.
You’ve been running away. now you’ve run out of places to hide.
I can no longer stand here waiting for you to decide
If there’s a heart still left inside.
You can’t get away. there’s someone watching tonight.