However, don't be deceived by appearances or first impressions when it comes to Hill's music. "Like Lee" might at first sound light and frothy, but as you listen you'll realize it's much more complex then you originally thought. While the melody might initially bounce along, buoyed up by Hill's horn playing, the complex interplay between the drums and bass are an indication there is more to this song then first met the ear. With each passing verse and the addition of a new instrument into the mix, the song gains in texture and intricacy. While the horn continues to provide a jaunty lilt, the addition of piano at about the piece's halfway mark breaks up what has been an established pattern and introduces a hint of discordance. However, over the course of what remains of the song what was initially a jarring element is gradually blended into its surroundings until it becomes part of the overall environment. Throughout it all, the steady underpinning provided by the bass and drums continues unimpeded as if it were a separate entity.
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Following right after "Like Lee" is the second spoken word interlude of the disc. While the first interlude spoke of the role music plays in the life of the people, this short bit speaks directly to African Americans making Chicago their new home."We've come this far by faith/From the fields we found our way to a new home along South Parkway/Currently known as the throne of King Drive/And though it might not be perfect/We thank God we've arrived/We survived/And it feels so good to be alive in the city of the Chi". Think of this in relation to the song prior, a people trying to find their feet in an already existing environment. How at first they are an oddity, a new element disturbing the surface, but life continues to go on, and gradually they become part of the overall whole.
Life in Chicago was far from perfect for many years for the migrants from the South and their descendants. While segregation wasn't enforced by law, it was by society. African Americans were restricted to living in specific neighbourhoods, restaurants displayed white only signs and basically they were still second class citizens. However, as "To Be Free", the song following right after this spoken word piece suggests, it was far better then what they had left behind for the hope of freedom to come it offered. Starting off with a blues-tinged trumpet stirring thoughts of hardship and hope, the song morphs into something wilder and freer. Greg Ward's alto sax shakes off restraints and takes the piece into a new direction, one which doesn't care about rules and thumbs its nose at society and its niceties.
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