“It’s All Right”: Chicago Soul

Berry Gordy, Jr., and his Motown Records, based in Detroit, Michigan, overshadowed the Windy City during the 1960s. But several black music producers—including Roquel (“Billy”) Davis and Carl Davis (who were not related), Johnny Pate (who also was an arranger), and Curtis Mayfield—developed a recognizable Chicago sound that flourished from the late 1950s to the mid-1970s. This lightly gospelized rhythm and blues, which came to be known as Chicago soul, replaced the raucous blues of South Side bars with sophisticated, jazzy arrangements confected in recording studios and featuring melodic vocals backed by brass sections and strings.

The first record from the city with a distinctly soulful sound was Jerry Butler and the Impressions’ “For Your Precious Love” (1958). Butler and the Impressions parted company to pursue parallel careers but remained in contact, and the group’s guitarist, Mayfield, provided Butler’s next big hit, “He Will Break Your Heart” (1960); its gospel structure established the blueprint for the sound of the city for the next 10 years. The Impressions’ own career was launched the following year with “Gypsy Woman.” In addition to writing a series of uplifting anthemic hits for the Impressions (produced by Pate for ABC Records), Mayfield also provided songs for numerous other artists, including “Um, Um, Um, Um, Um, Um” and “Monkey Time” for Major Lance. Most of these records were released on out-of-town labels, and Mayfield’s status as a lyricist and innovative guitarist was not fully recognized until he formed his own Curtom label in 1968 in partnership with his longtime manager, Eddie Thomas.

Billy Davis had been Gordy’s songwriting partner before joining the artists-and-repertoire (A&R) staff at Chess, where he worked with most of the label’s roster, including Etta James and Sugar Pie DeSanto. Following the success of Gene Chandler’s “Duke of Earl” (1961), producer Carl Davis was appointed head of A&R for OKeh Records, where he recruited Mayfield to write for several artists including Lance. Davis then moved to Brunswick Records, where he produced one of Jackie Wilson’s finest records, “(Your Love Keeps Lifting Me) Higher and Higher” (1967). He subsequently set up his own Dakar label, whose singles by Tyrone Davis—“Can I Change My Mind?” (1969) and “Turn Back the Hands of Time” (1970)—were classics of wistful regret.

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Meanwhile, as Chicago’s blues men were losing their slots on the city’s jukeboxes to these new soul artists, their songs were being recycled in Britain by white musicians—most prominently the Rolling Stones, who made a pilgrimage to the Chess studios in 1965 to record the backing track for their epochal single “(I Can’t Get No) Satisfaction.”