Vocalist Chuck Bernard (left, 1966) was born and bred in St. Louis and was able to lay down a series of cuts with a ton of great songwriting teams that kicked around Chicago during his time here (in addition to the legendary team of Bridges-Knight-Eaton who worked with a handful of Chicago artists though they were Detroit-based).
Chuck is perhaps best known for his cuts “Wasted” and “Indian Giver” (moderate hits of the time), but he released a number of valiant rare soul efforts well into the seventies on labels such as Monk Higgins’ St. Lawrence and Ric Williams’ Zodiac.
Above, “Bessie Girl”, an example of Bridges-Knight-Eaton Dramatic Soul from 1969. Below, “The Other Side of My Mind”, a slice of groove with a psychedelic flavor that just may surprise you. Jive On.
Today, it’s a question of whether your pants are sagging or not (as far as I’m concerned).
In the Sixties, on the South Side of Chicago, the male clothing signifier was whether you were a Gouster or an IvyLeaguer.
A former co-worker who I guess would be classified as a Gouster now, but was an Ivy Leaguer then, told me:
Basically, Gousters dressed like old school gangsters (by this he meant O.O.G., like Thirties-Forties-Fifties era), and Ivy Leaguers dressed preppy. Gousters were considered to be kinda like hoods, whereas Ivy Leaguers at least looked like they kept their noses clean.
This conversation started when I un-covered a record from about 1964 called “The Gouster” by a local group called the Five-Du Tones.
I found a really nice blog post from Wild-Child where she waxes poetic about the styles:
“I recently encountered an old friend who lived in the neighborhood back in the day. He lived on 35th Street and I lived on 31st. We were from the same neighborhood and attended the same high school. He was the coolest guy in history. Not only was he fine, he could DANCE. His fashion identity was Gouster style. I can still smell the Jade East.
Below is a record of his that I’ve been getting into lately, “Just Because I Really Love You” by Jerry Butler, circa 1969. This cut is super smooth and a great example of Jerry’s work on Chicago’s own Mercury Records with Philly greats like Thom Bell and Gamble & Huff (especially the cheeky background vocal at the top). It’s the flip side of the hit record “Only the Strong Survive”. It’s also the type of swoon-inducing record made for basement blue light parties.
The record was sampled by J Dilla for “U-Love” on 2006′s Donuts (and in 2002 by French hip-hoppers Hocus Pocus for “Conscient”.
The song was also recently covered (very sweetly, I might add) by Miles Bonny X the Ins. Jive on!
you know you love it. Syl Johnson was a staple at local clubs here in Chicago in the 60s and 70s and this record can still get a crowd moving. This song is famous, arguably, because it’s been sampled so many times; but it is actually the follow up to Syl’s Monster-of-a-hit from 1967, “Sock it To Me” (which fared much better on the local charts).
I like the effects and psychedelic touches on this, as well. If you dig this, too, check out Syl Johnson’s complete anthology, “Complete Mythology“ released by local Numero Group (and pictured ).
and for good measure, here’s “Sock it to me”. Jive on!
The title cut off this 1968 album is a bluesy monster produced by Charles Stepney with more than enough groove to stay squarely in the pocket. Also on this album is the local hit “Up in Heah”, another blues-infused party track. Both of the records will make sceptics rethink the blues. According to the back of the album:
“Talk about somebody being “tuff” enough. One night in Pepper’s Lounge, a little night spot on Chicago’s South Side, Junior Wells was introduced as “the little Giant of the blues”. It was around midnight and the Chatter that had been incessant for about three hours ceased. In cool dignity the little black walked to the stage, and said: “I’m gonna sing them damn blues, and you’d better dig it.” This audience at Pepper’s where all the blues greats have passed through and left their mark, is as hip an audience as any performer ever faced. When you bring them slow blues it better be nasty, and when you swing it better make them move. Shoot blanks and you won’t last long. Junior Wells could stay there eternally. “
Here’s a follow up to yesterday’s Jerry “The Ice Man” Butlerpost. Below, 1969′s “Walking Around in Teardrops”.
Before Harold Melvin & the Blue Notes and the O’Jays hit the soul stratosphere, there was the late sixties Philly/Chicago fusion that was Gamble/Huff/Martin/Bell/Butler. Always one to use his starpower to help up-and-comers in the Music Business craft their talents, Jerry Butler proved to be an early Hitmaker for the producing/songwriting team of Gamble & Huff, producer/arranger Thom Bell, and for producer/arranger Bobby Martin(orchestrators of the Philly Sound in the decade that was to come).
A B-Side gem, I love the hypnotic vibe of “Teardrops”, coupled with the electric sitar and trippy female back-up vocals. Co-written by Jerry Butler, this cut was arranged by Thom Bell, then riding high of a string of hits (including “La-La (Means I Love You)” and “Didn’t I (Blow Your Mind This Time)“) that he had written and produced for the Delfonics.
First off, I LOVE this record. A little back story: “Hey, It’s Over” by Windy City is a record that came out in 1974 on local Innovation II records, later issued on Warner Bros. Produced by Willie “Mr. Brunswick”* Henderson and Arranged by James “The Soul Educator” Mack*, it has a great shuffly, brassy, breezy sound that fits the group’s name perfectly. And, the jangly guitar and crisp high-hat make me smile. Not on Windy City’s only album (pictured below [and also recommended]), it’s pretty rare.
I bought the record in an online auction lot with about a hundred other 45s five years ago, spending what wound up to be about a dollar per record. At the time I was a college student, and for me it was a BIG investment. The records were not packed very well, and so my b-side (“If by Chance”) has an annoying click on it.
I went online to see if I could find a replacement and I got quite a shock. Apparently the record got hot recently (probably in Europe), because today “Hey It’s Over” alone is selling for the price I paid for the whole lot. One of the few times in which a very rare record is also very well produced.
Antiques Roadshow, here I come!
*Willie Henderson produced dozens of spectacular sides for Brunswick Records; While James Mack not only arranged beautifully himself, he taught a whole generation of the city’s best arrangers (including Tom Tom Washington).
Music spun on wax. Real 45s cut to make you move. Soul & Funk classics and rarities… plus caramel cake! You bring the drinks, DJ Ayana will bring the grooves.
Let’s get UP Friday Night with DJ Ayana and special guest Simeon from local hip-hop group The Primeridian. Funky Disco, Jazz, Gritty Bluesy Movers… Good Music.
DJs Gaucho brings you soul on wax (45s to be exact). Soulful rarities, Bluesy Groovers… and funky movers. Play a game of pool, have a drink, or just plain get down (Ayana’s on hiatus this month).
(above, “There it Is” by Tyrone Davis. Brunswick Records, 1973)
(photos: Labor Day 1936 at 31st Street Beach, Chicago) found at bvikkivintage
I love “I’ll Never Forget You” by Nolan Chance. Released here in Chicago in 1969, its creation was a collaboration between Curtis Mayfield, Donny Hathaway, and Leroy Hutson (arguably the patron saints of Chicago Soul for the decade that was to come). The song has aural dream sequences: One moment, Nolan is reminiscing the sand-in-shoes good times spent with his lost love. The music is floaty, featuring dreamy keys and a güiro, the same scraping percussion instrument in the Drifters’ “Under the Boardwalk”.
The next moment, Nolan is snapped back into reality and the music features rhythmic, ebbing horns that recede like the tide. It makes me want to go to the beach. Enjoy the pictures and the music….
NOTE: Nolan Chance (born Charles David) was raised in LaGrange, IL, and was at one time a member of the Artistics. Another record of his that I picked up based on my love for “I’ll Never Forget You” is “I’d Like to Make it With You”, the B-side of “Sara Lee” (released in 1972, and NOT the same song as the similarly titled ”Make it With You” by Bread). Great sassy Chicago brass and pulsating rhythm. Jive on.
This is a record that embodies Chicago Grit and Get Down. “Good Lovin” by the legendary Otis Clay is at once a love song and a warning. Take heed. Says he: “And if you walk out my life, I hope you fall and break your neck”. If that ain’t grit, I don’t know what is….
A favorite at my gigs, it’s a mid seventies bluesy stomper with some wah wah sweetening by Benjamin Wright. Released on Echo Records here in Chicago, later on Elka Nationally. Enjoy.
