{"title":"All Physical","description":"","products":[{"product_id":"eccentric-soul-the-capsoul-label","title":"The Capsoul Label","description":"\u003cp\u003eWhere everything Numero begins. Three guys in a purple Saturn station wagon drove down to Columbus, Ohio, and came back to Chicago with a lost label—the rest is history. In the early ’70s, Bill Moss’ Capsoul imprint could barely break wind in the larger music marketplace, and yet today the label’s output can stand shoulder-to-shoulder with any classic soul of its era. Isolated in central Ohio and lacking the funds to back them, groups like the Four Mints and Johnson, Hawkins, Tatum \u0026amp; Durr might’ve easily withstood ten rounds against the Temptations, Smokey, or Otis. The scrappy Capsoul writing team of Dean Francis, Jeff Smith, and Norman Whiteside would’ve gone blow-for-hook-filled-blow with any Gamble \u0026amp; Huff or Holland\/Dozier\/Holland cared to throw at them. From Bill Moss’ civil rights meditation “Sock It To ‘Em Soul Brother” to Marion Black’s future hit about the future “Who Knows” to Kool Blues bounding “I’m Gonna Keep on Loving You,” Eccentric Soul: The Capsoul Label remains dollar-for-dollar the best soul compilation of its century and the perfect primer for anyone piqued by the Eccentric Soul series.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp class=\"dropcap\"\u003eAs the capital of arguably the most soulful state in the nation, Columbus, Ohio is remarkably unassuming. Just south of the rust belt and barely above the Mason-Dixon, it is surrounded by the fertile crescent of American R\u0026amp;B. Propped up culturally and economically by the largest university in the country, it had neither the boom nor the bust of nearby meccas Detroit and Memphis. Columbus was a stable burg where talent could flourish unmolested by the prospect of stardom, a the perfect environment in which idiosyncratic, eccentric soul music could thrive.\u003c\/p\u003e\n\u003cp\u003eCapsoul, short for Capital City Soul, released in its five short years only a dozen 45's and one highly-sought-after LP but managed to score several regional smashes and one national hit before collapsing under the weight of its own debt and hubris. The catalog languished afterward in a sort of limbo, too obscure to find new life on oldies and dusties stations or on Time-Life collections, but too common to attract serious interest from collectors of rare soul. But 30 years after it ceased to exist, the Capsoul label would rediscover its original audience, lying in wait somewhere between the mainstream and the underground.\u003c\/p\u003e\n\u003cp\u003eThe roots of Capsoul sprouted in 1966, during Bill Moss’s tenure as a popular DJ at WVKO Columbus. Moss pooled the resources of a few low rollers around town to launch the short-lived Nassau label, a tribute to his native Bahamas. Right out of the gates, “Ooo-Poo-Pa-Doo” b\/w “East 24th Ave” by Billy Graham and the Escalators was picked up by Atlantic Records, where it promptly fizzled. The second release on the starkly pink label would yield better results. Moss met a young singer named Ronnie Taylor who’d had recording success already as a member of the Four Pharaohs, themselves hit makers for Cincinnati’s King label and the local Ransom imprint. Taylor recorded a dazzling double-sider, “Without Love” backed with “I Can’t Take It,” which soon attracted interest outside the capital, this time with Lebaron Taylor’s Revilot label, who was currently hitting with The Parliaments, Darrell Banks, and The Holidays. Taylor’s record managed to chart with this higher profile release, but neither Moss nor Taylor ever saw any money from the release, which would begin an unfortunate trend for Moss’s productions. Before folding the label, Moss would take a last crack with “Memories Are Made Of This,” his debut as an artist, but an unfortunate and mediocre crooner.\u003c\/p\u003e\n\u003cp\u003eMoss’s next endeavor partnered him with local promoter Jim Justus to form another small imprint, the Holiday label. Its first two singles, issued in 1968, were by the same group under two different names. Both the Vondors and the Soul Partners were made up of Jay Almon, Jimmy Norbit, Ron Farthing, Roscoe Almon, Ronnie Threatt, \u0026amp; L.A. Almon. “Walk On Judge” by the Soul Partners charted locally, giving Moss the confidence to use his WVKO clout and shove the single into the hands of Larry Uttal at Bell. Uttal picked up the 45 and even went so far as to bankroll the next Soul Partners single. Moss used this relationship to distribute his next two efforts as a solo artist, a pair of singles that matched his positive approach. Banking less on his vocal chops than on charisma and charm, both “Sock It To ‘Em Soul Brother” and “Number One” were triumphs. The former, a tribute to African-American leadership, had inherent attraction to the black radio culture that was peaking nationwide. The latter, a surprisingly irresistible “father’s lecture” set to music, may not have hit number one, but it did chart nationally. Bill Moss, however, never saw a dime, and after Bell refused to even pay for the studio time, he pulled the masters and ended the relationship.\u003c\/p\u003e\n\u003cp\u003eBefore the Soul Partners channeled their success at Bell into national tours and deals with Scepter and, later, Utopia and Rainbow Collection, they backed one last session in 1969 for an up-and-coming vocal group, the Four Mints. James Brown, Louis Dotley, Bobby Shank, Herschel Davis, and James Spencer started out at East High in 1955 as the Five Mints, but by the time of their Musicol session, the Five had been whittled down to one. Joining Brown on the sublime ballad “You’re My Desire,” and its flip “You’ll Want To Come Back,” was doo-wop floater Ben Caldwell, Timeless Legend brother Jimmy Harmon, and Donald Russell. The 45 was strong opening salvo to an impressive recording career, but it failed to attract much attention.\u003c\/p\u003e\n\u003cp\u003eBy 1970, Bill Moss had tired of his work as a DJ and regional promoter and decided to give the label business one more try. His last-hurrah act at WVKO took the form of a talent show, a surreptitious recruitment drive for his nascent brand. All the most important local musicians of the era competed, but it was dark horse Marion Black who stole the show with his heart-wrenching performance of “Go On Fool”—later to appear as the first single on the Capsoul label. Sales skyrocketed in every city that gave it airplay. Although most deejays preferred the vastly superior B-side “Who Knows,” AVCO\/Embassy licensed the single and issued promotional copies with only “Go On Fool” on it. Nationally, “Who Knows” would ultimately be ignored.\u003c\/p\u003e\n\u003cp\u003eStill, that tiny morsel of success gave Moss a taste for the real thing. With a small chunk of cash and the help of a couple Ohio State engineering students, Moss built a small studio at 3504 N. High Street, which quickly became home base to a bright team of musicians and songwriters hungry for a shot. Audiophile and chronic record store employee Jeff Smith would scratch out songs on guitar. Dean Francis, already known for his locally released single “Funky Disposition,” played drums and quickly grew as a star songwriter. Moss imported the now legendary Billy Wooten from Indiana to play vibraphone. Frank LaRue, a University violin teacher created all the Capsoul string arrangements with the help of some of his best students. Dwight Cartier, Steve Taylor, and Terry Wilkes filled out the bass, keys, and rhythm guitar. And Bill’s fledging company got a boost when he was able to secure a $30,000 loan from City National Bank. Moss had taken care of the money, the music, and the management. All he needed now was raw talent.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eVirgil Johnson, Al Dawson, Willie Tatum, and Norris Durr were a group of neighborhood kids who called themselves the Revelations. Prompted by a friend, Moss decided to give them an audition. What they sang that day was anything but a revelation, but those voices were right on. Liking the ring that Crosby, Stills, Nash \u0026amp; Young had coming off the tongue, Moss re-christened the group Johnson, Dawson, Tatum \u0026amp; Durr. A few weeks later he would absent-mindedly swap “Dawson” for “Hawkins” while laying out the labels for their first single, “You Can’t Blame Me,” accidentally renaming them for a third time. If you haven’t heard it yet, stop reading right now and drown yourself in pure liquid soul. Moody, complex, dark, with a shockingly unique falsetto lead courtesy of Virgil Johnson and a proto-hip-hop bass line beat that grooves like a bus on speed bumps, “You Can’t Blame Me” is tense and intense. The flip, “Your Love Keeps Drawing Me Closer,” made a dent on the soul dance scene but couldn’t touch the impact of the a-side. Few records could. It was played everywhere and went to number one throughout the Midwest and up and down the eastern seaboard. While crucial cities such as Chicago and New York overlooked it, sales in places like Baltimore, Philadelphia, and Cleveland were massive.\u003c\/p\u003e\n\u003cp\u003eThe success of that first single was no mystery. Virgil Johnson’s hypnotic and unsettling lead was the linchpin of its popularity. Unfortunately, Virgil knew it as well as anyone else. After their second single, “You’re All I Need to Make It” b\/w “A World Without You” was in the can, Virgil was ready for the big time and Capsoul, he figured, wasn’t getting him there fast enough. One very heated confrontation later, Johnson was thrown off the roster. Pride-bound, he immediately moved to Los Angeles, where he encountered the hard truth of his own insignificance. One of a million singers trying to get a gig in the big city, he was forced to return to Ohio just a few years later and has, as far as anyone can tell, never recorded again.\u003c\/p\u003e\n\u003cp\u003eBeginning a trend of recycling instrumental tracks, Moss retroactively filled a hole in the catalog between “Go On, Fool” and “You Can’t Blame Me” with a single by the generically named Capsoul Group. Moss snagged the instrumental to his second Bell single, “Number One,” and tacked it on to the string heavy instrumental to “You’re All I Need To Make It,” but the two sides couldn’t have come from further places. The a-side was backed by a gaggle of hourly session men, but its flip was a product of the scrappy group of amateurs and semi-pros plying their trade at 3504 N. High. \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThe instrumental to “Sock It To ‘Em Soul Brother” was also revived after Moss licensed “Pure Soul” from the South Carolina group Elijah \u0026amp; the Ebonites. Lead by Elijah Hawthorne, the original release of the song appeared on their own Superior label and featured a cover of “Yes I’m Ready” by Barbara Mason on the flip. As Moss wasn’t fond of releasing cuts he didn’t publish, he slapped “Soul Brother” on the other side and issued it on the Loren imprint, named for his first son.\u003c\/p\u003e\n\u003cp\u003eIn the wake of “You Can’t Blame Me,” pressure was on Capsoul to deliver hits. City National loomed in the rearview mirror on every out-of-town promotion junket. Hoping to change his fortunes, Moss produced and issued a barrage of singles. The Enticers, another vocal group from the WVKO talent show, had by then narrowed their line-up to a duo, Tennessee natives John Primm and William Gilbert, and were known as the Kool Blues. Their first single, “Why Did I Go,” was from the pen of Dana Middleton and Jeff Smith and would later be retread by the Four Mints. “I’m Gonna Keep On Loving You”—which draws inspiration from the duo’s home state heroes at Stax—was penned with the help of young upstart Norman Whiteside, a hanger-on around the Capsoul studio. Whiteside later formed the band Wee and recorded an LP that—along with the Four Mints’ \u003ca href=\"http:\/\/www.numerogroup.com\/products\/four-mints-gently-down-your-stream\"\u003e\u003cem\u003eGently Down Your Stream\u003c\/em\u003e\u003c\/a\u003e LP and Timeless Legend’s \u003cem\u003eSynchronized\u003c\/em\u003e LP—are considered the finest soul albums in Columbus history. While it’s absurd that the single was ignored, the b-side saw life again years later on the northern soul scene. Their second single featured two excellent ballads: “Can We Try Love Again,” a funky, mid-tempo rug slasher, was backed by the eerie, contemplative “I Want to Be Ready.” Among the last singles on the Capsoul label, it barely even attracted the marginal attention of its predecessor.\u003c\/p\u003e\n\u003cp\u003eWhile Moss recovered from Johnson, Hawkins, Tatum \u0026amp; Durr’s break-up, he was able to re-unite with the Four Mints, then eager to enter the studio again. Without much difficulty, “Row My Boat,” written specifically for the group by Dean Francis, went to the top of the local charts. A timeless single, the song interpolates elements of the nursery rhyme “Row Your Boat” into the melody. Lead singer Ben Caldwell’s breathtaking vocal range, somewhere between a caramel tenor and a pure sugar falsetto, was a perfect recipe for the soul style of the moment. Though originally issued on Capsoul, this single also has a scarcer alternate pressing on Loren.\u003c\/p\u003e\n\u003cp\u003e1973 was the year of Four Mints, with a total of three singles emerging, the largest output for the label thus far. “Can’t Get Strung Out” saw two pressings, the first with “In A Rut” on the flip, the second issue with the Mints’ take on “Why Did I Go.” They closed out the year with a reissue of their Holiday single, which fared better this time, boosted by the Capsoul imprint’s new notoriety. This surge in extraordinary output, however, wasn’t enough to save the label from receivership, despite one more close call that nearly put the books in the black. While on the road in Memphis promoting the singles, Bill Moss and Four Mints founder James Brown heard breaking news that Al Green had been hospitalized after being scalded by hot grits. Inspired, they raced back to Columbus to resurrect “Pure Soul” by Elijah \u0026amp; the Ebonies as “Hot Grits!!!” It was re-re-released on Capsoul and found life via novelty appeal throughout the south.\u003cbr\u003e \u003cbr\u003e The final Capsoul release would be the Four Mints only album, Gently Down Your Stream, a collection of their 45’s plus one leftover, “Too Far Gone,” another Dean Francis masterpiece. Neglecting to issue this as a single may have been one of Capsoul’s greatest errors; it stands with “Row My Boat” as the Mints’ finest recorded moment. The album’s release did nothing but showcase the exceptional output of this vocal group, though its scarcity today indicates that sales never even exhausted a first pressing.\u003cbr\u003e \u003cbr\u003e Around the end of 1974, City National informed Bill that he was too “emotionally involved” with the label and that they’d decided to pull the plug on Capsoul. Things got dire when Moss showed up at 3504 N. High Street to find the door padlocked, forcing him to break in to his own studio to abscond with the master tapes. Uneasy about keeping them at home, he secured them safely at a friend’s place in the rural outskirts of the city. Several years later, he’d return for them only to find that the tapes had been destroyed in a flood. And it gets uglier. Fed up and disgusted with the record business, Moss drove to Queen City in Cincinnati with the remaining Capsoul 45’s and had them recycled for a pittance in returns.\u003c\/p\u003e\n\u003cblockquote\u003eCapsoul was my first love. You never get over that one.\u003c\/blockquote\u003e\n\u003chr\u003e\n\u003cp\u003eAnd so Capsoul lay entombed for 30 years, the seeds of its promise spread out in hopes of discovery by a future generation. The cast and crew followed suit. Marion Black found his way to Harmonic Sounds across town and recorded a few moody singles for Clem Price’s Prix label. Taylor joined the military and recorded killer funk with Sojourner Truth in Kentucky, and even deadlier funk with O.F.S. Unlimited, also on the Prix label. Black works, as he has since his recording days, as a waiter in upscale Columbus establishments, while Taylor relocated to New Zealand, where he lives to this day. The Four Mints never made another record but still perform semi-professionally in and around Columbus. Dean Francis would keep writing and recording, working with Timeless Legend and Jupiter’s Release with former Kool Blues Billy Gilbert and John Primm. Gilbert took a job as an inspector for the City Of Columbus, while Primm moved back to Nashville. No one has heard a peep out of Virgil Johnson since his sheepish return from Los Angeles. Jeff Smith recorded a few more times in the 1970s but sadly died of cancer in 1997. \u003cbr\u003e \u003cbr\u003e Bill Moss would eventually enter politics, declaring that it couldn’t be as cutthroat as the music business. He ran for congress in 1976 and won election in 1977 (and six later re-elections) to the Columbus school board. He even ran for mayor in 1985 but was handily defeated. When we met with Moss in March of 2003, he could still be heard on WVKO radio, on Saturday mornings as the host of his “Let’s Talk” show and on Sunday afternoons with his own “Good News Sunday Gospel.” We enjoyed a few all-too-brief years of friendship with Bill before his sudden death on August 1, 2005.\u003cbr\u003e \u003cbr\u003e Before he passed, Moss reflected, “Capsoul was my first love. You never get over that one.” \u003cbr\u003e\u003c\/p\u003e","brand":"Numero","offers":[{"title":"Gold Vinyl 2xLP","offer_id":43186922782918,"sku":"NUM001LP-C1","price":31.0,"currency_code":"USD","in_stock":true},{"title":"2xLP","offer_id":43186922455238,"sku":"NUM001lp","price":25.0,"currency_code":"USD","in_stock":false},{"title":"CD","offer_id":40259322511558,"sku":"NUM001cd","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40259322544326,"sku":"NUM001dig1","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/NUM001lp-C1CapsoulLabelGoldVinyl2xLPTransparent.png?v=1675449475"},{"product_id":"mystiques-so-good-to-have-you-home-again-bw-put-out-the-fire","title":"So Good To Have You Home Again b\/w Put Out The Fire","description":"\u003cp\u003eFeaturing brothers Greg and Larry Magee, Kevin Rowan, and Basil Hughes, the Mystiques were a prodigious teenage band discovered at deep south side Fenger High’s talent show by Chess recording artist King Fleming. Their voices betrayed their age, and shortly after, Fleming had them in the studio cutting “Put Out the Fire” and “So Good to Have You Home Again” for an unambitious release on the miniscule Orr label. Dead on the vine, Fleming brought the group to the attention of Twinight, who in January of 1969 gave the single a courtesy promo-only release and promptly deleted the title. \u003c\/p\u003e\n","brand":"Twinight","offers":[{"title":"45","offer_id":40259336634566,"sku":"TWI112lp","price":12.0,"currency_code":"USD","in_stock":false},{"title":"Digital","offer_id":40259336601798,"sku":"TWI112dig","price":2.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/atom-1539202029.png?v=1626880340"},{"product_id":"george-mcgregor-the-bronzettes-temptation-is-hard-to-fight-bw-everytime-i-wake-up","title":"Temptation Is Hard To Fight b\/w Everytime I Wake Up","description":"\u003cp\u003eFor the third release on the freshly minted Twilight label (Twinight was still a few releases away from becoming a reality), it was already establishing itself as a harbor for eccentric sounds. From producer Jimmy Jones first pedal steel wail to the loping waltz rhythms, “Temptation Is Hard To Fight” comes out of leftfield 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 amature, yet haunted feel. \"Every Time I Wake Up\" is a thoroughly catchy mid-tempo R\u0026amp;B workout, featuring George McGregor's brother Billy fresh off his “Mr. Shy” sessions.\u003c\/p\u003e\n","brand":"Twinight","offers":[{"title":"Digital","offer_id":40259385327814,"sku":"TWI102digital","price":2.0,"currency_code":"USD","in_stock":true},{"title":"45","offer_id":40259385360582,"sku":"TWI102lp","price":12.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/atom-1539201994.png?v=1626880338"},{"product_id":"nate-evans-pardon-my-innocent-heart-bw-main-squeeze","title":"Pardon My Innocent Heart b\/w Main Squeeze","description":"\u003cp\u003eWith this, easily among themost sought-after 45s on \u003ca href=\"http:\/\/numerogroup.ten-grand.com\/products\/eccentric-soul-twinights-lunar-rotation\"\u003eTwinight,\u003c\/a\u003e Gary, Indiana’s own Nate “Tobacco Road” Evans turned in a stunning 1972 double-sider. The single is best regarded for \"Main Squeeze,\" a triumphant mid-tempo number with uplifting horn stabs penned by Earl Randle prior to his work at Hi in Memphis. But it's Evans’ original work, “Pardon My Innocent Heart,” that's the real bottle-breaker. Dark and brooding, with backing by the Kitty Haywood singers, it's a perfect cap to Twinight's impressive five-year, 56-release gallop through the Chicago night.\u003c\/p\u003e\n\u003cp\u003eEasily among the most sought-after 45s on Twinight, Gary, Indiana’s own Nate “Tobacco Road” Evans turned in a stunning 1972 double-sider and final release for the label. The 45 is best regarded for “Main Squeeze,” a triumphant mid-tempo number with uplifting horn stabs penned by Earl Randle prior to his work at Hi in Memphis. But it's Evans’ original work, “Pardon My Innocent Heart,” that's the real bottle-breaker. Dark and brooding, with backing by the Kitty Haywood singers, it's a perfect cap to Twinight's impressive five-year, 56-release gallop through the Chicago night.\u003c\/p\u003e","brand":"Twinight","offers":[{"title":"45","offer_id":40259385721030,"sku":"TWI156lp","price":12.0,"currency_code":"USD","in_stock":false},{"title":"Digital","offer_id":40259385655494,"sku":"TWI156dig","price":2.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/atom-1539202068.png?v=1626880343"},{"product_id":"eccentric-soul-the-bandit-label","title":"The Bandit Label","description":"\u003cp\u003eThe Bandit Records legend could almost be fiction. The house passing as a home, the harem passing as a family, the rising star brutally murdered in his prime, the dream, the con: The end. Arrow Brown inhabited the same south-side Chicago landscape as Afro-Noir author Iceberg Slim’s ghetto characters, taking inspiration from the same sources that shaded Airtight Willie, White Folks, and Blue Howard. Drawn to the underground and fancying himself a rogue entrepreneur, Brown and his Bandit label operated somewhere in the space between money laundering outfit and sex cult. Brown poured proceeds from straight jobs held by his many “daughters” into sumptuously rendered, forward-looking soul records by the egotistically named Arrows and the Majestic Arrows, as well his seven-year-old son Altyrone Deno Brown, whose father hoped to push to Jackson-style child-fame heights. Putting beauty and genius in front of commercial viability, Arrow laid down lush, sweeping strings to lure the listener into a hipster fantasy world, sharply incongruent with the sometimes-criminal reality of the city that dreamt it. Our triple-LP unabridged edition brings 40 tracks to the CD’s 20, and the 14,000-word accompanying book, crackling with odd and dazzling imagery, makes our original notes read like a Babysitter’s Club entry. In 2005, novelist and essayist Jonathan Lethem called the entirety of the Bandit Records tale “Haunting… haunted… Like a little novel.” In its darker corners, 003 \u003cem\u003eEccentric Soul: The Bandit Label\u003c\/em\u003e may more closely resemble true crime. \u003c\/p\u003e\n\n","brand":"Numero","offers":[{"title":"CD","offer_id":40259389325510,"sku":"NUM003cd","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40259389358278,"sku":"NUM003dig1","price":10.0,"currency_code":"USD","in_stock":true},{"title":"3xLP","offer_id":40259389391046,"sku":"NUM003lp","price":33.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/atom-1538771947.jpg?v=1626880262"},{"product_id":"fern-jones-the-glory-road","title":"The Glory Road","description":"\u003cp\u003eHer voice was all Saturday night, delivered on a Sunday morning. Patsy on Jesus. Elvis without the pelvis. Fern Jones’ only album, released by Dot Records in 1959, captured 36-year-old Sister Fern as she anointed church music with the same untamed energy that younger white Southerners were bringing to their rock ’n’ roll. Produced by Mac Wiseman and showcasing crack Nashville session players Hank “Sugarfoot” Garland, Floyd Cramer, Joe Zinkan, and Buddy Harman fresh off their June 1958 session with The Pelvis, Singing A Happy Song should’ve taken Jones from dusty canvas big tops to the Opry’s storied stage. But with no 45 to flog, Jones instead sold nary a record and never did hear herself on the radio. 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Oddly enough, Lunchbreak had been shooting for the Bee Gees, and their horrible miss was our gain. \u003cbr\u003e\n\u003cbr\u003e\nA few months later, we had the original tapes, a stack of unpublished photos, and one of five actual lunch boxes the band had made during their brief existence. Johnny Lunchbreak existed for less than two years and played outside of Hartford, Connecticut, only once, and yet somehow, they reached graduate levels in merchandising. \u003c\/p\u003e\n\u003cp class=\"dropcap\"\u003e\u003cstrong\u003eMichael Clare:\u003c\/strong\u003e In the beginning there were the Gents—Rick Weiner, Jim Kelman, Andy Merritt, Steve Murtha, and me—we played the 1966 King Philip Junior High end of year assembly in West Hartford, Connecticut. Over the next few years the ins and outs of school and bands led us in a circle that moved on to Andy and I playing in the Magic Theater and moving to Portland, Oregon for a year in 1970. 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They regaled tired skiers and locals in the hotel lounge every night all winter with what must have seemed a curious mixture of old Stones, obscure Bee Gees, a cover of Charlie Pride’s “Kiss An Angel Good Morning” and a bunch of Andy’s originals. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn Gengras:\u003c\/strong\u003e When the season was over, I drove up to Dixville to pick Guy up and bring him home. When I got up there at 10PM he told me we were giving the guitar player a ride back to West Hartford. The only problem was the guitar player was passed out drunk in his underwear in his room. That’s how I met Andy. We threw him in the car and drove home.\u003cbr\u003e\n\u003cbr\u003e\n\u003cstrong\u003eRick Weiner:\u003c\/strong\u003e After the winter gig at the Balsams, I was asked to join a country band—Big Al Orkins and the Countrymen. We had a huge following in the North Country of New Hampshire and Vermont. Anyway, Johnny Paycheck had a big hit at the time \"Take This Job And Shove It.\" I thought that was a cool name, so I decided to name myself Johnny Lunchbreak. When I moved back to West Hartford and the End Of The Trail Boys re-formed Andy thought my new pseudonym would be a good name for the band.\u003cbr\u003e\n\u003cbr\u003e\n\u003cstrong\u003eJohn Gengras:\u003c\/strong\u003e Guy and I were parking cars at G Parking on Church Street and there was an empty office on the second floor. Guy got permission to use it as a rehearsal space for the group, and they started practicing three or four times a week. I used to check them out and I finally bugged them hard enough to let me sit in. \u003cbr\u003e\n\u003cbr\u003e\n\u003cstrong\u003eMichael Clare:\u003c\/strong\u003e We existed as a four piece for awhile but knew we needed a lead guitar player, then one day Guy's kid brother picked up a right handed guitar and played it left handed and so sweetly. He was in. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJohn Gengras:\u003c\/strong\u003e I really can’t remember our first gig together, but it was either a bar or a bar mitzvah. We did a lot of that. We also had long standing engagements at Flo’s Inn and Cypress Arms—two fine dives—where we played for $25 a man and usually ended up owing the owners money for our bar tab. \u003cbr\u003e\n\u003cbr\u003e\n\u003cstrong\u003eTom Ekwurtzel:\u003c\/strong\u003e I was nowhere on the scene when Lunchbreak formed. I was in a popular cover band that performed 3-4 nights a week at the Steak Loft in Ellington, Connecticut, and weddings on Saturday afternoons. We were called the Victor Spoils Band or Killer Pizza or the Wedding Band. Lunchbreak had cute little promo ideas, bumper stickers, lunch pails, etcetera, but they also had Andy Merritt, who really had that x-factor thing going. Just a true definition of what a rock and roller should be.\u003cbr\u003e\n \u003cbr\u003e\nIn fact, I can’t forget the very first time I met with him to sit around a piano and exchange ideas. I showed up at his parent's house in West Hartford and was immediately nailed with a snowball. I look up and it’s Andy, wearing jeans, boots, a big leather jacket, a scarf and aviator glasses. When I met the others, I immediately took to them. Rick had split to pursue a business venture, and I took over the keyboards, harmony vocals, back up guitar, and whatever else was needed. \u003cbr\u003e\n \u003cbr\u003e\n\u003cstrong\u003eMichael Clare:\u003c\/strong\u003e I had taken a recording course at Trod Nossel Studio in Wallingford, and this was my first hands on experience as engineer and producer it all went very fast, one or two takes, vocal overdubs, mixed it, and then listened out in the car on the AM transmitter that the studio had. There was no real purpose for the recording other than we could. I made up one cassette that I gave to our friend Ben Pettis who got us a gig in New York at Club 82 and some press. \u003cbr\u003e\n\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVariety, November 20, 1974:\u003c\/strong\u003e \u003cem\u003eJohnny Lunchbreak is a Hartford rock combo still in the process of getting it together. Although their Gotham debut caught fire midway, the rest of their set was lackluster.\u003c\/em\u003e\u003cbr\u003e\n\u003cbr\u003e\n\u003cstrong\u003eTom Ekwurtzel:\u003c\/strong\u003e It was a discouraging night, and we had to motor back to Hartford and resume the day jobs we had. It was kind of obvious that this was going to be very tough to commit to.\u003cbr\u003e\n\u003cbr\u003e\n\u003cstrong\u003eMichael Clare:\u003c\/strong\u003e I remember our last gig out in Vernon. Guy didn't show up, Tom was embarrassed, we sucked, and the bar's softball team had just won some game or championship and came back to the bar to drink numerous pitchers while we were imploding on stage.\u003cbr\u003e\n\u003cbr\u003e\n\u003cstrong\u003eJohn Gengras:\u003c\/strong\u003e I feel like we broke up because the band really wasn't going anywhere. We were playing music nobody but us seemed to like, and we really had a hard time getting gigs. Andy and I joined another band, but it was not what either of us liked, just playing for the sake of playing. I had a job and a small child, so money called.\u003cbr\u003e\n\u003cbr\u003e\n\u003cstrong\u003eMichael Clare:\u003c\/strong\u003e Andy and I always knew in the back of our minds that we would continue together some day after the turbulence of life during your late twenties and early thirties settled down. 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Started the excess before the stardom though.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMichael Clare:\u003c\/strong\u003e Sometime in the early 1980s John had four acetates made with side one being \u003cem\u003eAppetizer\u003c\/em\u003e and side two being Soup’s On as a Christmas gift to the former band members. In 2004 one was mistakenly sold and fell into the hands of Mike Garber at Zero Street Records. \u003cbr\u003e\n\u003cbr\u003e\n\u003cstrong\u003eMike Garber:\u003c\/strong\u003e It was in a box marked “collectibles” at a Connecticut record shop, priced at $28. The cover was a plain sleeve with a sticker of a lunchbox and another sticker that read “Johnny Lunchbreak.” Inside were two psychedelic drawings as well as two photos of a shaggy haired rock band. It featured nine original compositions showing a healthy British influence (the Stones and Odessa era Bee Gees came to mind immediately). With no information, other than the band name, I posted the recordings on a message board to see if anyone knew anything. Within two days, I got an email from Michael Clare. Turns out it was his copy that he accidentally sold off with much of his prog-rock collection. We traded emails for a year, which finally resulted in a 300 copy vinyl reissue of the recordings in early 2006.\u003cbr\u003e\n\u003cbr\u003e\n\u003cstrong\u003eThe Numero Group:\u003c\/strong\u003e That LP seemed to be perpetually on our office turntable throughout the spring of 2007. We mostly played side one, just picking up the needle and placing it back down, over and over. And if we liked it that much, we thought a few thousand others might too. \u003cbr\u003e\n\u003cbr\u003e\n\u003cstrong\u003eTom Ekwurtzel:\u003c\/strong\u003e I think the project accurately reflects the time when these Connecticut kooks went into a studio and tried to do their best. 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The after-hours routine may have been on the up, but the sound of urban blues was on its way down, getting funkier, heavier, picking up a Zeppelin echo from the British rock scene that had raided its larder. Thankfully, lightening came by way of a lanky white guy skulking from club to club with a camera and strobe light. Chicago photographer Michael Abramson hit Perv’s House, Pepper’s Hideout, The High Chaparral, The Patio Lounge, and The Showcase Lounge nightly, not to capture the artists on stage but instead popping off a half-dozen rolls every night exclusively on the seldom photographed crowd. \u003cbr\u003e\u003cbr\u003e\u003cem\u003eLight: On The South Side\u003c\/em\u003e gathers more than 100 beautiful black and white Abramson images, as Numero shines its own light on yet another dark corner of the musical past. The 132-page hardback book features not just these photos, but an extended and wildly colorful ephemera section, plus an essay by British novelist and Numero fan Nick Hornby. Housed in a gorgeous slipcase with the 12X12 monograph is the 2LP set Pepper’s Jukebox, a 17-track compilation of Chicago blues in transition, as heard from both the stage and the Wurlitzer.\u003c\/p\u003e","brand":"Numero","offers":[{"title":"2xLP + Book (Flash Colored Vinyl)","offer_id":44609579319494,"sku":"NUM033lp-C2","price":75.0,"currency_code":"USD","in_stock":true},{"title":"2xLP + Book","offer_id":40260001857734,"sku":"NUM033","price":70.0,"currency_code":"USD","in_stock":true},{"title":"2xLP + Book (White Vinyl)","offer_id":40260001956038,"sku":"NUM033LP-C1","price":75.0,"currency_code":"USD","in_stock":false},{"title":"Digital","offer_id":40260001792198,"sku":"NUM033dig1","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/files\/num033_v1_color.png?v=1746734460"}],"url":"https:\/\/numerogroup.com\/collections\/all-physical\/new-age.oembed","provider":"Numero Group","version":"1.0","type":"link"}