Category Archives: Music

Al-teen Records: Bill Meeks’ little ships of soul

Bill Meeks was, in the late sixties, a jingle writer here in Chicago who started a record label called Al-teen. The label was based at 82nd and Stony Island, and put out records by Sunday (Williams), Drake and the En-Solids, Earl Duff, The Supurbs (sic), and Johnny McCall. Many of the tunes were composed by D. McGilberry. None of them were hits in their day.

Many small labels existed in this town, and most of them were born out of someone’s dream. They sent out little ships into the murky waters of the Industry hoping to reach that unknown shore of stardom. So many of those ships, those records, are still floating out there (testaments to those dreams).

Below, a couple of my favorite cuts from the label. Both are now worth a pretty penny. “Ain’t Got No Problems/Where Did He Come From” by Sunday was a hot enough platter here in Chicago that it got picked up for national distribution by Chess (which makes it Alteen’s most successful production).  To my ears, “Where Did He Come From” (the original B-Side) is the star of the story.

“I Need You” By Johnny McGill is a bit of a grittier record with sparser production, but has that particular leanness of a “little ship” sort-of-record that I love. You can feel that the record is a love child: created of of passion rather than obligation.

Female background on all of the Al-Teen cuts was by a group called The Voices. This is them singing along to Sunday’s “Ain’t Got No Problems” in 2009 (forty years after the fact) on a local radio show called “Sitting in the Park”. Wow. All of the talents of a whole bunch of people (and a whole bunch of hopes) rode on these little ships. I respect that. Jive on.


Jo Armstead: a giant among men.

Jo Armstead is a Mississippi-bred firecracker vocalist who is also a dynamite songwriter (a field dominated by men). She told SoulMotion.co.uk:

“By the time I was in my teens, I was sneaking out to cafes, juke joints, and dances on Saturday nights. Blues man Bobby ‘Blue’ Bland gave me my first opportunity to sing with a band…”

“The amplified sound of the guitar, bass, drums and piano with the horn section blasting away made the tiny nightclub atmosphere infectious. I remember a hot sticky night and my body dripped with sweat. I gave it my all and it was an intimate, hypnotic and totally exhausting experience”.

She joined the Ikettes in 1961, and wound up in New York a few years later, working in a songwriting trio with Nick Ashford and Valarie Simpson. The team split up in the mid-sixties, with Nick and Val going to Motown and Jo arriving in Chicago.

Her first songwriting success in Chicago was “Casanova (Your Playing Days are Over)” for Ruby Andrews in 1967 (a HUGE record here in Chicago that year). By then married to Mel Collins, the two ventured into a record label that almost exclusively featured her compositions, Giant Records, as well as the offshoots Gamma and Globe.

A number of releases on Giant also featured Jo Armstead’s sassy soprano vocals, including “I’ve Been Turned On” and “There’s Not Too Many More Left Like Him” [below].

Many of her compositions were recorded featuring a trademark rollicking, melodic, string-laden stepper groove that has aged quite well. Most arrangements were collaborative efforts between Armstead and Detroit’s own Mike Terry.

During her time in Chicago, she also wrote or co-wrote hits for Carl Carlton (“Drop By my Place”, and “Two Timer [above]), Garland Green (“Jealous Kinda Fella” [click here for more on Mr. Green]), and herself (“Stone Cold Lover”).  But, by 1969, her marriage was on the skids and she was bound for New York again. But, during her time in Chicago, she was indeed a giant among men. Jive on…


Tom Tom 84 goes Hollywood.

Tom Tom Washington (pictured at left) is basically my hero. He’s also a very humble and cool individual to be around.

As a Chicagoan and a music lover, his distinctive Horn and String Arrangements are like home to me.

Tom Tom came up in Chicago’s Ida B. Wells Projects and studied music under the tutelage of James Mack (an awe-inspiring arranger in his own right). He wound up arranging dozens of records for Chicago Music Heavyweights such as Earth, Wind, & Fire, The Emotions, Tyrone Davis, Deniece Williams (who is from Gary, IN), The Staple Singers, Ramsey Lewis, Leroy Hutson, The Chi-Lites, Otis Leavill, Betty Everett, Jerry Butler, Loleatta Holloway, and many, many, more.

In my cratedigging, I actually look for his name on a record as a mark of excellence.  I call it looking for a “Tom Tom”. I have at least a couple of hundred cuts he’s had a hand in (under the names Tom Tom, Tom Tom 74, Tom Tom 75, Tom Tom 84, Tom Tom Washington, and a few other aliases).

Tom Tom Washington also branched out and worked with artists from all over the world, including Phil Collins and The Whispers. The Whispers are a Los Angeles-based group, and in 1978, he did arrangements for an album called “Headlights”. I know this because I recently found a 45rpm single taken from the album. I’m not usually a fan of the Whispers, but it’s a beast, featuring the top cut, called “Olivia (Lost and Turned Out)” (which is about exactly what you think it’s about), and the B-Side called “Try and Make it Better”,  which is bangin’. The tunes’ arrangements capture the distinctive sound that Tom Tom made classic on hits by Earth, Wind, & Fire and The Emotions. It’s amazing. But why wouldn’t it be? It’s a “Tom Tom”.


The Ones: SDYL

I catch Khari Lemuel (pictured below) and Yaw (top, right) all over the place (the Library, 75th street, Red Kiva), and recently, I heard them performing at the Brown Sugar Bakery to celebrate owner Stephanie Hart’s birthday.  I dug them both separately, but as a duo (calling themselves “The Ones”), they are beyond belief. Both pour their souls into performances, but in their own way. While Yaw is supremely charismatic, Khari is stunningly intense. The collaboration is not their first: Yaw covered Khari Lemuel’s composition “Where Will You Be” a few years back.

About a year ago, The Ones posted “SDYL” (below) on Youtube. It’s a musical S.O.S., and the video contains images of moments in our time when the world seemed to be swirling out of control. Khari told me recently that the recording is, in fact, a rough cut, and they are in the process of getting “SDYL” (along with the makings of a new album mixed down and mastered). Can’t wait. This is just the type of music that carries on the legacy of great music born in Chicago. Jive on.

NOTE: photos shown were taken for darkjive.com during the 2010 “Taking to the Streets” Festival in Marquette Park. The performance ranks with one of my favorites I’ve seen of them, and featured a great backing band, including Junius Paul on Bass Guitar, Corey Wilkes on Trumpet, and Agustin Alvarez on Guitar.

UPDATE: Khari just sent me a link to the video below, behind the scenes one-camera video of Khari and Yaw performing “By and By”: from their upcoming album. I’ve really loved hearing this song’s arrangement evolve over the course of many performances. It’s smouldering, spiritual, rock-infused vibe is the business… I’m curious to see how it winds up sounding in the final cut.


Betty Everett: there’ll come a time

It was last summer. I was privileged enough to hear the iconic (and prolific) arranger Tom Tom Washington play a few chords of  the tune “There’ll Come a Time” on a piano stationed at a Recording Studio on 80th and Stony Island, where in the vacant lot next door they grew cabbage.

It was electric, especially because Betty Everett’s “There’ll Come a Time” (released in 1969 on Uni Records) was one of the first Chicago Soul albums I ever owned. It was also exciting because Tom Tom Washington arranged some of my favorite cuts on the album (we both agreed on our favorite: “1900 Yesterday” (below), sort of an off-kilter swinging 60s dance cut).

On the album, Betty’s sassy-yet-classy salty mezzo-soprano voice was perfectly augmented by swirling strings, staccato horns, shuffling doo-wop background vocals, and rollicking piano. Featuring compositions by Eugene Record (of the Chi-Lites), Curtis Mayfield, and Eddie Sullivan (of the Classic Sullivans), the album serves as a snapshot of Chicago Soul at the time.

Above, listen to Betty Everett’s classic “There’ll Come  Time”. You can hear the cut “1900 Yesterday”, by clicking the “continue reading” icon below… Jive on!

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Howlin’ Wolf: getting in the mood with a psychedelic “Spoonful”

An absolutely beastly rendition of Howlin’ Wolf’s “Spoonful” by… Howlin’ Wolf. I feel like playing this cut tomorrow night.

Part of a push at Chess Records in the late 1960s (spearheaded by Marshall Chess) to rerecord both Howlin’ Wolf and Muddy Waters in the then contemporary Psychedelic Blues style featuring awe-inspiring session work by Morris Jennings, Phil Upchurch, and more. Read more about this groovy situation here.


Ramsey Lewis and Earth, Wind, & Fire: sun goddess…an exercise of local royalty.

In 1974, Earth, Wind, & Fire was beginning its ascent to “Shining Star”-dom: “That’s The Way of the World” had not yet been released, but “Head to the Sky” and “Devotion” had already made them radio favorites. Maurice White, the lead vocalist on so many of EWF’s cuts (and a beastly drummer) returns the favor paid to him by Chicago legend Ramsey Lewis (who selected him for the second generation of the Ramsey Lewis Trio).

The first generation of the Ramsey Lewis Trio featured Lewis with Eldee Young and Redd Holt (of Young-Holt Unlimited best known for “Soulful Strut”), who struck out on their own in about 1967, while the second featured Lewis, White, and Cleveland Eaton.  The second generation sounded decidedly funkier.

Ultimately, Maurice White, too, struck out to form the Salty Pepers (sic), which, with members of the Pharaohs, formed what became Earth, Wind & Fire.

So, back to 1974. That year, Maurice produced the stellar “Sun Goddess” for Ramsey Lewis’ album of the same name, but there’s a bunch of other cuts on the album of the same name featuring Chicago Soul/Jazz Royalty at their peak of power. Jive on!


Yesterday and Tomorrow (it’s a chicago thing): David Boykin Trio at Danny’s featuring DJ Ayana

Below, one of the great Chicago recordings that I’ll feature.

check out a bit of David’s work below.


Clea Bradford and Frank D’Rone: my love’s a monster, so think i will. jive on.

From Frank D’Rone’s Cadet/Chess album “Brand New Morning” released in 1968 (arguably Cadet’s creative peak), “Think I Will” was arranged by Richard Evans and is the Brother record to Clea Bradford’s bananas Sister cut “My Love’s a Monster” (also from Cadet in 1968). Yes. The horns are so mighty, and that guitar work is extra-tasty… I think I’ll jive on, too!

So here’s the little narrative I pieced together from the two records… First, in the record above, poor unsuspecting Frank decides to go out on the town (maybe to Mister Kelly’s, or something). He thinks he’ll fool around with some girl’s heart. That is until he meets Clea (listen below what goes down next).


I Just Want to Be Loved: Lee Charles breaks it all the way down.

Wow. What a little stunner. I played this 1973 cut during my second set at Morseland this past Thursday. Such a quality Chicago cut.  Arranged by the mighty, mighty Tom Tom Washington (who later worked with the likes of Earth, Wind, & Fire), this was co-written by Lee Charles with Lowrell Simon [from the group The Lost Generation (famous for the hit "Sly, Slick, & Wicked"), and, later, Lowrell (famous for "Mellow, Mellow, Right On")].
Lee Charles also wrote songs for Jerry Butler’s famous Workshop in the early 70′S. Beautiful early appearance of some spacey Moog sounds and some solid truth.


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