Bill Champlin had a multi-album streak of hit songs, but his best contributions to Chicago albums were songs that he had a hand in composing. “Plaid” found Champlin at the top of his writing game.
It is commonly known that Warner Bros. initially expressed excitement when they heard two or three of the songs recorded for the album which eventually became Stone of Sisyphus. That enthusiasm allegedly disappeared when there was an executive upheaval at the label.
Still, I can’t imagine that label executives heard “Plaid” and were excited by its lyrics:
For so long you told me to keep it familiar,
Just play what they all would find,
I can wear this blindfold, stick to your story,
But I gotta ask myself why.
And I play those songs!
For so many seasons,
Till I’m sure I’m losing my mind.
And I say, Oh no,
Gotta have a much better reason
To leave all my dreams behind.
Co-written with Robert Lamm and keyboardist / jazz-funk maestro Greg Mathieson, “Plaid” is equally powerful musically.
After the programmed conga and synth introduction, drummer Tris Imboden locks in with the percussion programming with precise authority. Jason Scheff is prominent in the mix, as he forgoes the obvious bass patterns and adds a low end matching Imboden’s drumming. Touches of Hammond organ and synthesizer build along with Champlin’s lead vocal.
The backing vocal stack sounds like a combination of Champlin’s powerful baritone and Scheff’s tenor. Bill Champlin’s vocals arrangements are magic and have yet to be outperformed since he left Chicago.
In the liner notes for Stone of Sisyphus, Champlin said producer “Peter [Wolf] said, ‘Let’s go after corporate rock.’ And I thought, whoa that’s an easy target. That’s pretty much a big, giant bull’s eye waiting there to get hit. It’s not really about Chicago, more about the whole corporate posture. I think it’s right on the money.”
Sure Bill, it’s not about Chicago. One thing for certain, though, is “Plaid” is one of the Top 3 Bill Champlin Chicago songs – and a perfect reflection of where the band was at the time of its recording.
This album represents the last gasps of the band moving forward. Unfortunately, its rejection meant that Chicago slid into an oldies rock-act abyss.
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