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To commemorate Leo Burnett’s 78th Anniversary, 15 archival Chicago tracks were specially-curated by Grammy-nominated record label The Numero Group. For an audio/visual preview of the extraordinary 78LB playlist, scroll down across the images below. Download link is at the bottom of the page.

LB Co. Recording | MP3 DLC

T.L. Barrett & Youth For Christ Choir

Like A Ship (1968)

T.L. Barrett has a long history as an activist and influential figure in Chicago’s black community, and his guidance is clearly felt on “Like A Ship.” Backed by a choir that easily sounds a hundred people strong, T.L. Barrett channels his inner-preacher to create a gospel song about the power we all possess. And dammit if that piano melody isn’t the prettiest thing you’ve heard in forever.

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Like A Ship

The Cave Dwellers

Run Around (1967)

Recorded in 1967 at Chicago’s Universal Studios and laboriously laden with Buckinghams-style horns and strings, the Cave Dwellers thought they’d locked their first hit down. Given just a few minutes to produce a B-side, the quintet unleashed their primitive and theretofore-unheard power. “Run Around” ended up a punk precursor that took contemporary rock to its tough, angry and logical conclusions, scorching past anything the radio ran in its day. Intending only to tear off something fast and easy, the Dwellers had achieved one of Chicago garage rock’s most ferocious moments.

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The Cave Dwellers

The Intentions

Dig It (1971)

"Dig It" is a Temptations-inspired, socially conscious group funk track that was co-written by Don Myrick of Earth, Wind & Fire and was recorded in a single take. While The Intentions unfortunately parted ways soon after the single was released (due to disagreements over their stage uniforms), we are lucky enough to have a track like “Dig It” forever.

George McGregor & The Bronzettes

Temptation Is Hard To Fight (1967)

From producer Jimmy Jones’ first pedal steel wail to the loping waltz rhythms, “Temptation Is Hard To Fight” comes out of left field as one of the most unique soul ballads recorded in Chicago in the 1960s. Jones brought in a girlfriend and few of her friends for wo-oo-oo-oo-ooohs, giving the cut an amateur-yet-haunted feel. If the track sounds familiar, that’s because it was recently featured at the ending of an episode of Mad Men.

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Syl Johnson

Try Me (1967)

To hear him tell it, Syl Johnson could have been as big as James Brown or Al Green. #1 on the charts, top billing on the marquee, Hall of Fame inductions, tearful tributes... all within his reach, and yet never in his hands. “I’m more soul than Marvin, more funk than James," Johnson said. "If I’d gone pop, you’d be talkin’ about me, not them. I rate right at the top, though I’ve been underrated all my life.”

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Try Me

Sly Johnson

La Justicia

Stone Flower (1974)

By the late 1960s, the earliest salsa sounds from New York began to reach the Puerto Rican community in Chicago, then the second-biggest in America. La Justicia was the ringleader of this movement. They were one of the first acts to be signed to Ebirac Records, one of the few labels anywhere devoted to Chicago salsa.

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Majestic Arrows

Another Day (1975)

Fueled partly by a chance reunion with his estranged daughter, Tridia, a smooth local tenor named Larry Johnson formed The Majestic Arrows. Despite this brush with near-success, the band’s promotion and distribution were being operated by a man who understood neither, so, regardless of the talents clearly inherent in the performers, singers and arrangers, the fleeting and faint stardom of The Majestic Arrows was not enough to keep him around. Luckily, we have “Another Day,” the band’s biggest “hit” which finds the group performing its most delicate harmonies and Larry Johnson turning in the pitch-perfect falsetto he was known for.

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Joyce Williams

The First Thing I Do In The Morning (1972)

On “The First Thing I Do In The Morning,” Williams bravely combines funk guitar grooves with a seemingly improvised flute melody that plays throughout the track. If it seems like an odd mix, that’s because it is. But don’t be surprised to find yourself singing “I love…I love…” throughout the rest of your day.

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Chicago, Latino (1974)

It is impossible to completely sum up a place or a feeling in a song, but Orquesta La Union get pretty damn close with “Chicago, Latino.” This salsa-infused love letter to Chicago creates a feeling of friends and family dancing in the streets of the Windy City at night.

Willie Davis

I Learned My Lesson (1983)

“I Learned My Lesson” encapsulates everything that was great about the music of the era: emotional and soulful vocals, bluesy lyrics detailing a relatable heartbreak, and a sensational guitar-and-horn-driven groove that peaks with a powerful and inspired guitar solo. Not much is known about Willie Davis, but he would probably argue that this song tells us everything we need to know.

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I Learned My Lesson


The Devastator (1967)

In September of 1967, the seventeen-year-old Stormy (real name John Colley) put together a who’s who of Chicago musicians to back him for a session at RCA studios. The resulting track, “The Devastator” was intended as an introduction to Stormy: the man, the myth, the legend. The song is a boastful proto-funk number accented wonderfully by the thoroughbred backing musicians.

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Otis Brown

Southside Chicago (1966)

When Otis Brown sings about his city, you can hear the pride in his voice. Why else would he and his group The Delights sing “South Side Chicago” 38 times throughout the record? With a song brimming with so much love, one can’t help but wish they would sing it another hundred times.

Southside Chicago

Julian Leal

Get Away (1987)

You would be forgiven for thinking “Get Away” was a long-lost Cheap Trick B-side. It has all of the staples of that brilliantly cheesy era: glossy production, a harmonized guitar solo and a big “Hey!” in the chorus. This thing is overflowing with teenage nostalgia.

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The Notations

A New Day (1971)

This fantastic group was a classic example of enthusiastic soul harmony, favoring upbeat numbers as opposed to tear jerking ballads and more traditional vocal-group fare that was popular at the time. They are also responsible for their label Twinight’s only non-Syl Johnson national hit.

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Renaldo Domino

You Need To Be Loved On (1971)

Named for a voice that was sweet like Domino sugar, Renaldo Domino is one of the unsung heroes of Chicago soul. Born Renaldo Jones in “The Valley,” around 49th & Forestville, Domino was already on the star track by the time he got his drivers license. On the standout track “You Need To Be Loved On,” Domino’s vocals certainly live up to the promise of his stage name, but it’s Richard Pegue’s left-of-center production, complete with pizzicatto violin, triangle, castanets and mini choir that make this song arguably one of the most beautiful soul singles to come out of Chicago.

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You Need To Be Loved On

(Sad Face)


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