{"title":"CDs","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":false},{"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":"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. Her fiery rockabilly gospel was a few shades too radical for the conservative, traditional, near puritanical public she played to anyway. \u003cem\u003eFern Jones: The Glory Road\u003c\/em\u003e collects her \u003cem\u003eSinging A Happy Song\u003c\/em\u003e LP and cuts including “Didn’t It Rain,\" from her \u003cem\u003eThe Joneses Sing\u003c\/em\u003e album, into one rousing package, rich with the details and imagery of a brief career spent tethered to the hard ground and gazing skyward. \u003cem\u003eThe Glory Road’s\u003c\/em\u003e sound gnaws at the bit and stands in reverence, a runaway rockabilly tent show without a single drop of rain on the horizon.\u003c\/p\u003e\n","brand":"Numero","offers":[{"title":"CD","offer_id":40259402956998,"sku":"NUM005cd","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40259402989766,"sku":"NUM005dig1","price":10.0,"currency_code":"USD","in_stock":true},{"title":"2xLP","offer_id":40259403022534,"sku":"NUM005LP","price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/atom-1539026549.jpg?v=1626880264"},{"product_id":"antena-camino-del-sol","title":"Camino Del Sol","description":"\u003cp\u003e1982, Brussels: The former au pair for Rick Wakeman of Yes and two of her teenage friends are at the doorstep of Les Disques Du Crepuscule, ready to cut an album with Gilles Martin. Living on busking wages and next door to Tuxedomoon, their work results in a contemporary bossanova record that would provide a missing link between Antonio Carlos Jobim and Kraftwerk. \u003cem\u003eCamino Del Sol\u003c\/em\u003e was issued and promptly forgotten, with Isabelle Antena moving toward jazz in Asia and the others returning to France. Twenty years later, it was findable only as a VG+ LP with a sticker price of $4.99. Intrigued by the striking cover’s sunlit patio furniture emptiness basking in the south of France, we scooped up \u003cem\u003eCamino Del Sol\u003c\/em\u003e and grouped the extant Antena recordings from that exceptional period by session. Our definitive 2LP reissue of the original five-song mini-LP adds the group’s first 12” (a cover of Jobim’s “Girl From Ipanema,” naturally), the Seaside Weekend 12”, compilation tracks, and two previously unissued cuts, recasting this short-lived combo’s forward-thinking milemarker as a modern-day masterstroke.\u003c\/p\u003e","brand":"Numero","offers":[{"title":"2xLP Gold Camino Vinyl","offer_id":43806045470918,"sku":"NUM002lp-C2","price":35.0,"currency_code":"USD","in_stock":true},{"title":"2xLP Brussels Blue Vinyl","offer_id":41673958555846,"sku":"NUM002LP-C1","price":35.0,"currency_code":"USD","in_stock":true},{"title":"2xLP Black Vinyl","offer_id":40259405217990,"sku":"NUM002lp","price":33.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":40259405119686,"sku":"NUM002cd","price":12.0,"currency_code":"USD","in_stock":false},{"title":"Cassette","offer_id":41170482692294,"sku":"NUM002cass","price":8.0,"currency_code":"USD","in_stock":false},{"title":"Digital","offer_id":40259405152454,"sku":"NUM002dig","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/files\/NUM002lp-C2_Mockup.png?v=1717426245"},{"product_id":"buttons-from-champaign-to-chicago","title":"From Champaign To Chicago","description":"\u003cp\u003eAn homage to the prairie state Numero calls home, \u003cem\u003eFrom Champaign To Chicago\u003c\/em\u003e is a 19-track survey of Illinois’ Cheapest Tricks. Reaching back to 1973’s Peoria outliers the Jets and winding up in 1987 with Romeoville’s Julian Leal and his Dick Clark-approved “Get Away,” \u003cem\u003eFrom Champaign To Chicago\u003c\/em\u003e connects, via map, pins, and string, the various scenes that pockmarked the face of the Land of Lincoln. Chicago’s Prettyboys, Tom Orsi, All-Night Newsboys, Kevin Lee \u0026amp; Heartbeat, Band Jocks, Northshore, Paul, the Kind, and Loose Lips are tethered to Rockford’s the Names; Champaign’s Vertebrats, Contra-Band, and the Nines; LaSalle’s the Jerks; Joliet’s Lay-Z; and Zion’s Shoes...through the clubs, booking agents, weekly newspapers, and regional radio stations they were all fighting for access to. Our CD edition has been given Numero's signature treatment, complete with exhaustive histories of each band’s sonic contribution, whereas the double LP includes all of this, plus an attractive 7” plastic sleeve housing 19 individual glossy liner sheets featuring forgotten promo shots on their respective flipsides.\u003c\/p\u003e\n","brand":"Numero","offers":[{"title":"2xLP","offer_id":40259424813254,"sku":"NUM044lp","price":25.0,"currency_code":"USD","in_stock":false},{"title":"CD","offer_id":40259424747718,"sku":"NUM044cd","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40259424780486,"sku":"NUM044digital","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/atom-1539022611_28149783-3204-49f0-8504-824585cd3325.jpg?v=1626880470"},{"product_id":"cult-cargo-belize-city-boil-up","title":"Belize City Boil Up","description":"\u003cp\u003eThe national dish of Belize is a diverse mixture of ingredients: pig’s tail, potatoes, plantains, bananas, boiled eggs, yams, and whole fish, thrown in a pot and stewed to perfection. They call it a boil-up. \u003cem\u003eCult Cargo: Belize City Boil Up\u003c\/em\u003e combines equal parts R\u0026amp;B, calypso, disco, funk, reggae, bruckdown, soul, folk, and other sounds scraped off the musical pantry’s bottom shelf, though it’s anything but leftovers. See the Harmonettes’ speedy, robustly recorded take on “Shame, Shame, Shame” or tropical pulse and electro stabs on Lord Rhaburn’s “Disco Connection.” Before our very own Rob Sevier showed up on Belize’s sand-swept shores, little was known of the tiny Central American nation’s vibrant musical history. Since then, we’ve scoured the catalog of Belize’s lone record label, Compton Fairweather’s C.E.S., for choice delicacies derived from American genres gone mutant under intense Belizean sunlight, gathering a hurricane of battered photos, album sleeves, and ephemera, amassing a sound souvenir that’s more like a recorded jaunt through a dance-infected Belize long gone. 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A \"cargo cult\" is what happens when one culture begins worshipping the byproducts of another; Cult Cargo is what happens when that devotion is returned. From 1969 to 1976, Frank Penn’s GBI studio and label cranked out a dozen LPs and twice as many singles, each infected by the Detroit-by-way-of-Miami sounds drifting east across 100 miles of Florida strait. GBI's catalog is a fruity blend of poolside soul, second-deck cruise ship karaoke, sand-in-your-bathing-suit funk, jump rope rhymes, hurricane-ravaged R\u0026amp;B, the regional delicacies of rake n’ scrape and goombay....plus a 13-minute “Mustang Sally” that stresses the classic to breaking point, and goes ahead and breaks it. Fire up the blender, crank the stereo, and slather on the SPF 35. Have your mail held. Frank Penn's funked-up Freeport, Bahamas, is a mouse click, a play button, or a needle drop away. \u003c\/p\u003e\n","brand":"Numero","offers":[{"title":"CD","offer_id":40259435266246,"sku":"NUM014cd","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40259435299014,"sku":"NUM014digital","price":10.0,"currency_code":"USD","in_stock":true},{"title":"2xLP","offer_id":40259435331782,"sku":"NUM014lp","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/atom-1538772365.jpg?v=1626880293"},{"product_id":"eccentric-soul-twinights-lunar-rotation","title":"Twinight's Lunar Rotation","description":"\u003cp\u003eOperated by a pair of cutthroat radio promotion men, Chicago’s Twinight label made its strides via “friendola”—the trading of favors, not dollars, for local radio airplay. Much of the outfit’s 56-single output—excepting the work of bona fide hitmaker Syl Johnson—was written and recorded by moonlighting on-air talent eager for a leg up in the Second City’s notoriously crooked record racket. Twinight’s Lunar Rotation spins 40 former tax write-off tracks on 2 CDs—or 54 cuts on 4 LPs—into works of true soul beauty revealed by the light of a new day. After ushering forth previously unknown cuts by Jo Ann Garrett, Renaldo Domino, and the Notations, the sixth entry in Numero’s flagship Eccentric Soul series reads like the who’s who of an unsung Chicago scene, featuring Chuck \u0026amp; Mac, the Dynamic Tints, Annette Poindexter, Nate Evans, the Radiants, the Mystiques, the Kaldirons, Perfections, Mist, Harrison \u0026amp; The Majestic Kind, Schiller Street Gang, George McGregor \u0026amp; the Bronzettes, Josephine Taylor, Krystal Generation, Mist, Velma Perkins, Jimmy Jones, Sidney Pinchback, Stormy, Johnny Williams, Elvin Spencer, Buster Benton, and Pieces Of Peace.\u003c\/p\u003e\n","brand":"Numero","offers":[{"title":"Digital","offer_id":40259446046918,"sku":"NUM013dig1","price":20.0,"currency_code":"USD","in_stock":true},{"title":"2xCD","offer_id":41175979000006,"sku":"NUM013CD","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/atom-1538772271.jpg?v=1626880289"},{"product_id":"eccentric-soul-the-deep-city-label","title":"The Deep City Label","description":"\u003cp\u003eToiling in Floridian swelter for just a few years, the Deep City label and its sound would permeate the Miami-metro area and dress the set for disco powerhouse TK’s impressive 1970s run. Before “Rockin’ Chair,” “Rock Me Baby,” or “Clean Up Woman,” a few roguish cats from Florida A\u0026amp;M University’s Marching 100 band were blending their flams and paradiddles with the island sounds drifting into Miami’s airwaves from points unknown. Willie Clarke, Johnny Pearsall, Clarence Reid, and Arnold Albury set up the city’s first black record company, pumping out brassy proto-funk and echo-laden ballads by future hitmakers Betty Wright, Clarence “Blowfly” Reid, and Paul Kelly, plus a dozen can’t-miss\/did-miss sides by Helene Smith, as well as a slew of 45s bearing Deep City, Lloyd, and Reid labels. Them Two’s “Am I A Good Man” must’ve simply been too damn good; it melted into Intercoastal waterways, alongside Four Tops-ified Moovers acetate “Darling I’ll Go,” and Clarke and company took separate roads toward Henry Stone’s mighty TK empire. The first of Numero’s twin Florida soul volumes, any Eccentric sojourn through the sunshine state begins with The Deep City Label. 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Completing the circular journey of a hallowed rhythm, these tracks carry sanctified messages as passed through the earthly delights of the bass and guitar groove. Mixing primitive harmonies, spacious breaks, jungle percussion, elderly rappers impersonating the devil, cast recordings, thumping bass, and James Brown impressionists, this is old time religion slathered in funk’s sinful gravy. Such a collection can only come together retroactively. “Gospel funk” lays its claim to genre only in the way that “deep soul” or “acid folk” do, as categories created by collectors and enthusiasts, ways of defining subsections within subsections. No label, artist, or producer focused strictly on funky gospel music; rather, a couple hundred groups kept a funkier number in their repertoire, then cut a budget gospel record. 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Victim: Clem Price and George Beter’s no-rep custom studio Harmonic Sounds and its Prix imprint. Built around a few stray boxes of demos, including  Penny \u0026amp; the Quarters’ uplifting “You And Me”—as featured in the 2010 film Blue Valentine—the balance of this 19-song collection is filled out with thrilling, previously released material by northern souldiers Joe King and the Royal Esquires, funk workouts from O.F.S. Unlimited, Mitch Mitchell \u0026amp; Gene King, the Soul Ensemble, and Chip Willis, dark, brooding deep soul from Marion Black, and heartstopping, salvation-seeking soul by Eddie Ray. 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The non-album was a mélange of post-Velvets New York mixed with the upturned collar of Modern Lovers-era New England. 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. 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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. It didn't happen.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTom Ekwurtzel:\u003c\/strong\u003e When I visit West Hartford, I sometimes drive past the corner where my friend lost control of his bike and died. I saw him about four months before. He seemed really happy.\u003cbr\u003e\n\u003cbr\u003e\n\u003cstrong\u003eJohn Gengras:\u003c\/strong\u003e  Andy died in a motorcycle accident in September of 1984. For me it truly was the day my best friend and the music died. He had just married and was enjoying the birth of his daughter. \u003cbr\u003e\n\u003cbr\u003e\n\u003cstrong\u003eMichael Clare:\u003c\/strong\u003e That sucked and the feeling hasn't changed. The asshole drove a motorcycle into a telephone pole at 50 miles an hour on Trout Brook Drive in West Hartford just south of Farmington Avenue. The pole is now gone, so is he, but the memory remains.\u003cbr\u003e\n\u003cbr\u003e\n\u003cstrong\u003eRick Weiner:\u003c\/strong\u003e He really could have been a contender. 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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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Straightforwardly arranged, pristinely picked, and gorgeously sung, these demos find Peyton off the junk and out of the commune, marking the end of an incredible renaissance for not only Bloomington, but folk as a whole. \u003c\/p\u003e\n","brand":"Numero","offers":[{"title":"CD","offer_id":40260902650054,"sku":"NUM5006cd","price":12.0,"currency_code":"USD","in_stock":false},{"title":"Digital","offer_id":40260902682822,"sku":"NUM5006digital","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/atom-1539015123_01a25f36-761a-4c8d-9a93-2eb64b33f88c.jpg?v=1626880502"},{"product_id":"caroline-peyton-mock-up","title":"Mock Up","description":"\u003cp\u003eBorn out of Bloomington, Indiana’s Needmore Commune, \u003cem\u003eMock Up\u003c\/em\u003e is the drug-damaged hippy stepsister to Joni Mitchell’s \u003cem\u003eBlue\u003c\/em\u003e. A dark orgasmic love letter between Caroline Peyton and producer Mark Bingham, the sparsely arranged album chronicles the rise and fall of their tumultuous relationship. Peyton’s operatic training complements Mark Gray’s spare piano flourishes and Bingham’s minimal strums, seeming at times to be just another instrument amidst the controlled chaos. Bird calls, laughter, soprano, falsetto…even high-pitched squeals show off Peyton’s dynamic range and control. \u003cbr\u003e\n\u003cbr\u003e\nOriginally issued in 1972, the ten-song album has been expanded to include her three cuts from the Screaming Gypsy Bandits’ \u003cem\u003eIn The Eye\u003c\/em\u003e LP and a live freak-out from the Bandits’ legendary stage show. Enhanced CD contains a contemporaneous short film from an intimate performance at the Hummingbird Café. Quite possibly the hippest record to ever have its cover drawn by the pressing plant’s janitor.\u003c\/p\u003e\n","brand":"Numero","offers":[{"title":"CD","offer_id":40260905205958,"sku":"NUM5007cd","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40260905238726,"sku":"NUM5006digital","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/atom-1539015160_39ba2e49-cbb8-491a-87ef-a7a48e0e27fa.jpg?v=1626880504"},{"product_id":"good-god-apocryphal-hymns","title":"Apocryphal Hymns","description":"\u003cp class=\"dropcap\"\u003eIn the firmament of independently financed gospel LPs, the stock album jacket would become as much a commonplace as any of the most obligatory hymns, from \"Amazing Grace\" to \"Swing Low, Sweet Chariot.\" Decorating that stock jacket pantheon is a familiar collection of nature’s most graceful images of everyday awe-inspiration—foamy waves crashing over rocks or sand, rainbows spilling from passing clouds, sunset-backlit trees deep in shadow. Lighthouses and hands cupped in prayer abound, as do clip-art praying hands superimposed over those same lighthouse, cloud, and shoreline scenes. Photographic representation of the performers on a given LP product was most often left to an afterthought group portrait, pasted off-center into a back cover’s bottom corner, with names and instruments listed in plain black type. \u003c\/p\u003e\n\u003cp\u003eAmong the dozens of stock cover concerns vying for the attentions of a nation teeming with small-time music makers, Century Records of Saugus, California, turned out a lion’s share of the imagery options, which today turn up with the frequency of pebbles in a stream. Illinois Christian folksters the \u003ca href=\"http:\/\/dev.numerogroup.com\/products\/sixth-station-deep-night\"\u003eSixth Station\u003c\/a\u003e took to the twilit midwestern sundown meadow of Century’s Cover Option #229 for their contemplative and offbeat \u003cem\u003eDeep Night\u003c\/em\u003e cassette. That same #229 cover would do its service for the Gospel Imperials, the Jubilaires II, and the Sensational Friendly Four of Selma, Alabama...who made themselves a sensational pair of #229 LPs. The cascading waterfall tumult of Century cover #333 made good sense for the Original Soul Stirrers, but the Gospel Clouds of Joy also chose it, apparently for its mostly obscured clouds. Louise Richardson, the Golden Keys, and the Elison Family, to name just a few from far-flung parts unknown, headed for the sun-kissed mountain radiance of #317. And the litany of groups who selected the pastel-colored pre-dusk beachscape of #CS202 might truly be eternal; its golds and blues have been stamped in block type by names including—but nowhere near limited to—the Traveling Souls, Song Birds of the South, and the Flying Eagles Gospel Singers....though there was nary a seagull aloft on the day that #CS202’s film got exposed.\u2028\u003cbr\u003e\n\u003cbr\u003e\nFor \u003ca href=\"http:\/\/dev.numerogroup.com\/products\/king-bullard-version-songs-of-the-bos-label\"\u003eKing James Records\u003c\/a\u003e proprietor and repeat stock-cover customer James Bullard, choosing covers was creative only in the most minimal sense. \"I tried to select 'em so that they would coincide with the title of the content in the package. When I was starting out, I didn't have access to art directors, there wasn't any in Cleveland that I was aware of.\" Bullard's report is echoed by the Supreme Jubilees' Leonard Sanders: \"The title of our album was \u003cem\u003eIt'll All Be Over\u003c\/em\u003e. When I saw that photo of the sun setting into the ocean, it seemed to express everything we were trying to say.\" The same held true for the vast majority of the tens of thousands of gospel tracks distributed on LP between two sheets of stock-cover cardboard. But what of the exceptions? \u003c\/p\u003e\n\n\u003cp\u003eBy the dawn of the 1970s, the popular canon of gospel standards had grown full-on grey and stately. \"Just A Closer Walk With Thee,\" \"Blessed Assurance,\" and \"Wade In The Water” were ending their long march out of the sharecropping 1800s, while \"Stand By Me\" and \"We'll Understand It Better By And By\" sounded increasingly like turn-of-the-century relics. Even the pre-war silver on Thomas Dorsey's \"Take My Hand, Precious Lord\" and \"Peace In The Valley\" had tarnished some, as a new generation of musical holy rollers tried on the everyman spiritualism of the Civil Rights movement. Meanwhile, the spiritual’s oral tradition approached obsolescence with the advance of modern recording technology and inexpensive means of physically replicating a sung message. Predictably, this new era witnessed gospel readings in their multitudes on chart hits like “Ain’t No Sunshine” and “People Get Ready.” But for every instant-classic Bill Withers or Curtis Mayfield composition refracted through recorded gospel’s stained-glass prism, thousands of original hymns were etched into perhaps 1000—and often fewer—pieces of vinyl and then promptly left to the care of a tiny congregation. Of those hordes of recordings, only a precious few—given new context by time and the whims of taste—announce themselves to today's ears, standing fully apart from the innocuous reverence of the stock-cover imagery that, to our eyes, drags them toward the light.\u2028\u003cbr\u003e\n\u003cbr\u003e\nCollected here are 19 \u003cem\u003eApocryphal Hymns\u003c\/em\u003e, a slim new gospel songbook, penned powerfully by lesser-known disciples. Though some were housed by a prosaic Cover Option #293 or #397, their delivery of the Word was anything but ordinary.\u003c\/p\u003e\n","brand":"Numero","offers":[{"title":"2xLP","offer_id":40260912382150,"sku":"NUM040lp","price":20.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":40260912316614,"sku":"NUM040cd","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40260912349382,"sku":"NUM040digital","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/atom-1539024657_5f3bbcf5-355b-4ee8-ada2-0ba35f0e6bf1.jpg?v=1626880512"},{"product_id":"codeine-what-about-the-lonely","title":"What About The Lonely?","description":"\u003cp\u003eFollowing on the somnambulant heels of \u003cem\u003eWhen I See The Sun\u003c\/em\u003e, our massive, near-complete Codeine overview, comes \u003cem\u003eWhat About The Lonely?\u003c\/em\u003e, an eight-track LP recorded at the group’s live zenith. Captured direct from the mixing board at a stop on Codeine’s November 1993 swing through the Midwest, opening for Mazzy Star, this document finds Stephen Immerwahr, John Engle, and Doug Scharin running through their hits at Chicago’s notorious Lounge Ax for a crowd of chatty “120 Minutes” fans. Gastr Del Sol’s David Grubbs adds his guitar to two songs, slinking on and off the 24-inch stage with little fanfare, but leaving his signature indelibly on the performance.\u003c\/p\u003e","brand":"Numero Group","offers":[{"title":"Lounge Ax Photobooth Vinyl (Numero Exclusive)","offer_id":42716269445318,"sku":"NUM201.5LP-C1","price":27.0,"currency_code":"USD","in_stock":true},{"title":"Lounge Ax Green Room Vinyl","offer_id":42716269478086,"sku":"NUM201.5LP-C2","price":27.0,"currency_code":"USD","in_stock":true},{"title":"Black Vinyl","offer_id":42716269510854,"sku":"NUM201.5lp","price":25.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":40260942495942,"sku":"NUM201.5cd","price":12.0,"currency_code":"USD","in_stock":false},{"title":"Digital","offer_id":40260942528710,"sku":"NUM201.5dig","price":8.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/files\/NUM201.5LP-C1CodeineWhatAboutTheLonelyLoungeAxPhotoboothVinyl_Silver.png?v=1686695534"},{"product_id":"iasos-celestial-soul-portrait","title":"Celestial Soul Portrait","description":"\u003cp\u003eInspired by the infinitely numbered harmonies transmitted by Vista, a benevolent being from a distant dimension, Iasos broke ground for a new age of electronic sound manipulation. His was pioneering work—done from a bohemian boat-slip home office—on some of the first commercially available synthesizers and, on stage, into the kaleidoscopic heart of psychedelic-era concert visuals. As life-affirming and attuned to spirit as Iasos' soul portraits were, prestigious psychology departments heard in them the tones humans hear at the precipice between life and death. Before ambient and New Age were so named and codified, the “Paradise Music” of Iasos (represented here by 13 selections transmitted between 1975 and 1985) brought Earth-transcriptions of a vast and galactic soundhealing to a planet much in need.\u003c\/p\u003e\n\n","brand":"Numero","offers":[{"title":"CD","offer_id":40260945313990,"sku":"NUM049cd","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40260945346758,"sku":"NUM049digital","price":10.0,"currency_code":"USD","in_stock":true},{"title":"2xLP","offer_id":40260945379526,"sku":"NUM049lp","price":27.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/atom-1538756232_f6bde04c-cfc8-4251-8abf-15e2decc78c0.jpg?v=1626880548"},{"product_id":"eccentric-soul-the-forte-label","title":"The Forte Label","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eFrom 1967-1980, Kansas City’s Forte Records captured nearly every iteration of popular Black music; basement beehiver-y from The Ray-Ons and Four Darlings, funky soul from Gene Williams Lee Harris, Louis Chachere, and The Fantastiks, downtempo disco ballads from James Whitney and Sharon Revoal, and the newly independent work of James Brown’s former Soul Sister #1 \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eMarva Whitney. Compiled here are 28 of the label’s enduring sides, contextualized with copious photos, ephemera, and essay, all housed in heavy weight gatefold jacket. Who knows how to do “The Hen”?\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Numero Group","offers":[{"title":"Tear Drops Blue Color Vinyl (2xLP)","offer_id":42972031189190,"sku":"NUM047lp-C1","price":35.0,"currency_code":"USD","in_stock":true},{"title":"Black Vinyl (2xLP)","offer_id":40260948951238,"sku":"NUM047lp","price":33.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":40260948885702,"sku":"NUM047cd","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40260948918470,"sku":"NUM047dig1","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/files\/NUM047lp-C1V_ATheForteLabel_TearDropsBlueColorVinyl2xLP.png?v=1701301427"}],"url":"https:\/\/numerogroup.com\/collections\/cds.oembed?page=5","provider":"Numero Group","version":"1.0","type":"link"}