{"title":"Grail Reissues - Lost to Time, Hard to Find.","description":"","products":[{"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":"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":"renaldo-domino-not-too-cool-to-cry-bw-nevermore","title":"Not Too Cool To Cry b\/w Nevermore","description":"\u003cp\u003eFrom Eccentric Soul: Twinight’s Lunar Rotation, Renaldo Domino’s on his knees on this begging classic, now available just the way you want it, on vinyl and spinning at 45 revs every damn minute. “Nevermore” is the flip, a solid “go away girl” b-side cut.\u003c\/p\u003e\n","brand":"Twinight","offers":[{"title":"45","offer_id":44552651112646,"sku":"TWI128lp","price":12.0,"currency_code":"USD","in_stock":false},{"title":"Digital","offer_id":40259732668614,"sku":"TWI128dig","price":2.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/atom-1539201547.png?v=1626880295"},{"product_id":"sidney-pinchback-the-schiller-street-gang-soul-strokes-bw-remind-me","title":"Soul Strokes b\/w Remind Me","description":"\u003cp\u003eHoping to cash in on the instrumental craze made popular by Cadet’s Soulful Strings project, Twinight hired journeyman guitarist Sidney Pinchback to set down a few psychedelic licks over the backing tracks for Syl Johnson’s “Different Strokes.” For “Remind Me”—credited to the Schiller Street Gang (a reference to the street Twinight co-owner Howard Bedno lived on)—Pinchback laid down fuzzy ruminations where Syl Johnson’s never-tracked vocals were slated to appear. Cut at Chess’s Ter Mar studio, the band was likely a mixture of Richard Pegue’s house band the South Shore Commission and whatever session players were hanging about that day. Both cuts have a distinct \u003cem\u003eElectric Mud\u003c\/em\u003e by way of Rotary Connection feel to them, and were slated to appear on an all-instrumental LP by the Chicago Sound Machine, which never materialized.  \u003c\/p\u003e\n","brand":"Twinight","offers":[{"title":"45","offer_id":40259733160134,"sku":"TWI114lp","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40259733061830,"sku":"TWI114dig","price":2.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/atom-1539201584.png?v=1626880297"},{"product_id":"annette-poindexter-wayward-dream-bw-mama","title":"Wayward Dream b\/w Mama","description":"\u003cp\u003eThe pairing of Pieces of Peace with Annette Poindexter in early 1970 by Syl Johnson—his backing band and girlfriend, respectedly—yielded impressive results. Peace-maker and future arranger extraordinaire Benjamin Wright is largely responsible for the swinging, funky arrangements on “Mama” and “Wayward Dream.” “Mama” has a bombastic sound that would only make sense when disco arrived half a decade later. \u003c\/p\u003e\n","brand":"Twinight","offers":[{"title":"45","offer_id":41729697874118,"sku":"TWI132lp","price":7.0,"currency_code":"USD","in_stock":false},{"title":"Digital","offer_id":40259733717190,"sku":"TWI132dig","price":2.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/atom-1539201643.png?v=1626880299"},{"product_id":"stormy-the-devastator-bw-i-wont-stop-to-cry","title":"The Devastator b\/w I Won't Stop To Cry","description":"\u003cp\u003eIntended as an introduction to Stormy, the man, the myth, the legend, “The Devastator” is a boastful proto-funk number accented wonderfully by the thoroughbred backing musicians. “I Won’t Stop To Cry” has been a northern soul fave since back in the Wigan days. While the single failed to “devastate,” John Colley hit pay dirt a few months later co-writing the novelty cash-in hit “Psychedelic Soul” by Saxie Russell for the Thomas label. \u003c\/p\u003e\n","brand":"Twinight","offers":[{"title":"45","offer_id":40259744235718,"sku":"TWI104lp","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40259744202950,"sku":"TWI104dig","price":2.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/atom-1539201739.png?v=1626880309"},{"product_id":"pieces-of-peace-pass-it-on-pt-1-bw-pt-2","title":"Pass It On Pt. 1 b\/w Pt. 2","description":"\u003cp\u003eThough they were the most revered group of session musicians in Chicago, the Pieces Of Peace only managed to issue one recording during their larger-than-life existence. As a live band, they backed almost every major Chicago artist at one time or another, including luminaries such as Jackie Wilson, Syl Johnson, Gene Chandler, and the Artistics.  But in their spare time, they had developed a unique, hard funk sound with Afro-centric sensibilities that had one foot in the mainstream R\u0026amp;B of their \"day job,\" and the other in Chicago’s underground scene led by Phil Cohran and his Artistic Heritage Ensemble and the Pharaohs. \"Pass It On” is an early step in the development of the Pieces Of Peace sound. Percussion heavy, lengthy bass vamps, and jazzy solos that meander well off page forced the jam to be broken out over two sides of a 45. \u003c\/p\u003e\n","brand":"Twinight","offers":[{"title":"45","offer_id":40259751346374,"sku":"TWI142lp","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40259751313606,"sku":"TWI142dig","price":2.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/atom-1539201826.png?v=1626880315"},{"product_id":"jay-mitchell-mustang-sally","title":"Mustang Sally","description":"\u003cp\u003eThe fifth in our ongoing disco series features a track from Cult Cargo: Grand Bahama Goombay. The 13-minute “Mustang Sally” is a break-heavy reworking of the classic Mack Rice tune, overstuffed with dizzying organ vamps, fuzzy bass, and freeform vocal riffs. The flp features a re-edit by Le Spam and a housey remix by the infamous Shoes crew. Housed in our stock disco sleeve for easy crate ID and limited to 1000 copies on either green or yellow labels.\u003c\/p\u003e\n","brand":"Plus","offers":[{"title":"12in","offer_id":40259751805126,"sku":"NMD005","price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/atom-1538772406.jpg?v=1626880317"},{"product_id":"rollers-knockin-at-the-wrong-door-bw-one-little-piece","title":"Knockin’ At The Wrong Door b\/w One Little Piece","description":"\u003cp\u003eSpliced alongside a handful of other Deep City instrumental takes, these two cuts were the first evidence that the grip of tapes that had turned up at famed Miami producer Willie Clarke’s ex-wife’s house would yield incredible fruit. No date was listed on the tape, but both were recorded at Criteria, and more than likely after 1969 as the melody for the former takes a heavy bite from the Jackson 5’s “I Want You Back.” Though no official Rollers records were issued in their time, the quartet of Shirley Levan, Betty Joe Johnson, Sharon Simmons, and Mary Smith—sister of Helene Smith—would later issue several singles under the Diamonettes banner. \u003c\/p\u003e\n","brand":"Numero Group","offers":[{"title":"Digital","offer_id":40259756622022,"sku":"ES001dig","price":2.0,"currency_code":"USD","in_stock":true},{"title":"Vinyl","offer_id":41151164448966,"sku":"ES001lp","price":12.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/atom-1539201904.png?v=1626880321"},{"product_id":"eddie-ray-wait-a-minute-bw-wait-a-minute-instrumental","title":"Wait A Minute b\/w Wait A Minute (Instrumental)","description":"\u003cp\u003eThe unissued third single from the Prix label’s unsung star Eddie Ray, cut directly from the original 15 IPS master. Tracked in 1972 just as Clem Price and George Beter’s Columbus imprint was shutting its doors, “Wait A Minute” is a bombastic slice of uptempo Northern Soul that owes a serious debt to Curtis Mayfield. \u003c\/p\u003e\n","brand":"Numero Group","offers":[{"title":"Digital","offer_id":40259757146310,"sku":"ES002dig","price":2.0,"currency_code":"USD","in_stock":true},{"title":"45","offer_id":40259757179078,"sku":"ES002lp","price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/atom-1539201942.png?v=1626880325"},{"product_id":"propinquity-propinquity","title":"Propinquity","description":"\u003cp\u003eAfter including Carla Sciaky’s lovely “And I A Fairytale Lady” on our \u003cem\u003eWayfaring Strangers: Ladies From The Canyon\u003c\/em\u003e compilation, we went ahead and had the original tapes for the \"Fairytale Lady\" source album transferred. Issued in 1973 on Colorado’s Folkways-shaped Owl imprint, \u003cem\u003ePropinquity\u003c\/em\u003e is the only album this Boulder group ever recorded. Steeped in the CSNY tradition of strong solo pieces knotted together by friendship, the album is a dreamy blend of folk and rock—rural, but with an urbane public school sensibility. The original 10-track album has been expanded to 14, with two unreleased tracks, and two others previously featured only on Owl’s 1971 \u003cem\u003eSing-In Boulder\u003c\/em\u003e compilation. \u003c\/p\u003e\n","brand":"Numero","offers":[{"title":"CD","offer_id":40259758162118,"sku":"NUM5003cd","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40259758194886,"sku":"NUM5003digital","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/atom-1538772926.jpg?v=1626880328"},{"product_id":"maso-poon-tang-thump-part-1-bw-part-2","title":"Poon Tang Thump Part 1 b\/w Part 2","description":"\u003cp\u003eSteve Byrd, known to his friends as “The Birdman,” was a songwriter and arranger, given to stomping around in cowboy boots and feathered ten-gallon hats, flouting his university degree in music composition. After impressing Arrow Brown with his credentials, Byrd became a regular fixture at the Bandit greystone and his Michigan Avenue Sound Orchestra was arguably the most over-the-top act ever handled by the label. \u003cbr\u003e\n\u003cbr\u003e\n1977's “Poon Tang Thump”—the Orchestra’s only output—burned through two sides of a 45, offering an epic, multipart instrumental funk suite that took its cues from Isaac Hayes, \u003cem\u003eSuperfly\u003c\/em\u003e, and the soundtrack soul of the blaxploitation era. In classic Bandit fashion, only a handful of copies of “Thump” are known to exist today.\u003c\/p\u003e\n","brand":"Numero Group","offers":[{"title":"Digital","offer_id":40259759407302,"sku":"ES003dig","price":2.0,"currency_code":"USD","in_stock":true},{"title":"45","offer_id":40259759440070,"sku":"ES003lp","price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/atom-1539201865.png?v=1626880330"},{"product_id":"boscoe-boscoe","title":"Boscoe","description":"\u003cp\u003eChicago’s South Side in the early ’70s was an epicenter of African-American musical creativity: Art Ensemble of Chicago, Sun Ra’s Arkestra, Phil Cohran’s Artistic Heritage Ensemble, and others led the charge away from mainstream, commercial music. Many followed: The Pharaohs, Pieces of Peace, and Earth, Wind \u0026amp; Fire would attain local, national, and then international acclaim. An outsider even in an outsider subculture, Boscoe—both band and self-titled album—has been denied a place in the Great Black Music only by its own profound obscurity. Issued in a pressing of just 500 copies, 1973’s \u003cem\u003eBoscoe\u003c\/em\u003e documents an explosive live act unclouded by the passage of time. Free of studio polish or perfectionism, every bass run booms, every vocal rumbles over a patina of reverb. Before Side A ends, we witness the invocation of death, a war for peace that black America must fight, Malcolm X’s violent passing, brains already in the grave, God’s damning of us all, and a glib parody of “The Star Spangled Banner,” all delivered by a crawling funk fusion as eager to blast us awake with harsh words as with insistent horns.\u003c\/p\u003e\n","brand":"Numero","offers":[{"title":"CD","offer_id":40259761963206,"sku":"AST004cd","price":12.0,"currency_code":"USD","in_stock":false},{"title":"Digital","offer_id":40259761995974,"sku":"AST004digital","price":8.0,"currency_code":"USD","in_stock":true},{"title":"LP","offer_id":40259762028742,"sku":"NUM1244LP","price":25.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/atom-1539027536_f808a204-acdf-4a38-b632-4f781d7111ec.jpg?v=1626880334"},{"product_id":"wee-try-me-bw-teach-me-how","title":"Try Me b\/w Teach Me How","description":"\u003cp\u003eIn the wake of Capsoul’s collapse, songwriter Norman Whiteside was left to fend for himself in a much bleaker Columbus, Ohio. After a few misfires and false alarms, he finally found a home in (Prix recording artist) Joe King’s band Wee. A few personal problems sidelined Joe shortly thereafter, and Wee became the Norman Whiteside project. “Try Me” epitomizes Norman's vision: glimmering mid-tempo grooves that wink at disco sound without shirking their own soulful ambition. “Teach Me How” slows it down to a stepper’s tempo.\u003c\/p\u003e\n","brand":"Numero Group","offers":[{"title":"Digital","offer_id":40259800694982,"sku":"ES006dig1","price":2.0,"currency_code":"USD","in_stock":true},{"title":"45","offer_id":40259800727750,"sku":"ES006lp","price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/atom-1539202169.png?v=1626880358"},{"product_id":"four-mints-gently-down-your-stream","title":"Gently Down Your Stream","description":"\u003cp\u003e\u003cem\u003eGently Down Your Stream\u003c\/em\u003e marked a creative zenith within the Columbus, Ohio, soul scene, at the juncture of the 1960s and ’70s. The Four Mints were one of the most influential local group harmony outfits of their era and—with assistance from Columbus doyen and Capsoul purveyor Bill Moss—among the few to release a full length LP. The roster of backing musicians hired to provide aural landscaping reads like a Midwest super-group, with surprising appearances from Indianapolis-based vibraphonist Billy Wooten and drummer Bobby Allen of the Fabulous Originals from Dayton, Ohio. And though most of the material on 1973’s Gently had been previously released as 45s, the collection—five singles and one priceless track saved from the scrap heap—gives witness to a world-class vocal quartet at its professional and intuitive peak. Under the watchful eye of arranger and mega-talent Dean Francis, the Four Mints pour forth from your speakers soulful, faithful and clear, but perhaps more importantly, intrinsically homegrown and utterly honest.\u003c\/p\u003e\n\u003cfigure\u003e\t\u003cimg src=\"https:\/\/s3.amazonaws.com\/numero-cdn\/images\/atoms\/four-mints-gently-down-your-stream\/atom-1620923115.JPG\"\u003e\t\u003cfigcaption\u003eGentle Blue Vinyl\u003c\/figcaption\u003e\n\u003c\/figure\u003e\n","brand":"Numero","offers":[{"title":"LP (Teal Clear Vinyl)","offer_id":43201508147398,"sku":"NUM1213lp-C2","price":27.0,"currency_code":"USD","in_stock":true},{"title":"LP (Gentle Blue)","offer_id":40259820650694,"sku":"NUM1213lp-C1","price":25.0,"currency_code":"USD","in_stock":true},{"title":"LP","offer_id":40259820617926,"sku":"NUM1213lp","price":20.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":40259820552390,"sku":"NUM1213cd","price":14.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40259820585158,"sku":"NUM1213digital","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/files\/gentlydownyourstream_C2.png?v=1709764223"},{"product_id":"wee-you-can-fly-on-my-aeroplane","title":"You Can Fly On My Aeroplane","description":"\u003cp\u003eScoring the lives of small-time players, pimps, junkies, and prostitutes lurking around his simultaneously blessed and cursed existence, Wee mastermind Norman Whiteside lived in an entirely different Columbus than Capsoul’s Bill Moss or Prix’s Clem Price. Alternating between Stevie Wonder’s dreamy soul and Sly Stone’s druggy groove, \u003cem\u003eYou Can Fly On My Aeroplane\u003c\/em\u003e bypasses Whiteside’s everyday gritty street life reality, focusing instead on the airy sounds of fantasy and masquerade. LP version replicates the original nine-song album as originally released on Owl records. Smooth, sexy, and synthy, \u003cem\u003eYou Can Fly On My Aeroplane\u003c\/em\u003e is a peerless and sprawling psychedelic soul concept album and a sure-fire undergarment soaker to boot. \u003c\/p\u003e","brand":"Numero","offers":[{"title":"Deep Sky Blue Vinyl","offer_id":43806076305606,"sku":"NUM1235lp-C2","price":27.0,"currency_code":"USD","in_stock":true},{"title":"White Vinyl","offer_id":41527258448070,"sku":"NUM1235lp-C1","price":27.0,"currency_code":"USD","in_stock":false},{"title":"LP","offer_id":41176027463878,"sku":"NUM1235LP","price":25.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":41170980405446,"sku":"AST005cd","price":14.0,"currency_code":"USD","in_stock":false},{"title":"Digital","offer_id":40259830153414,"sku":"NUM1235","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/files\/NUM1235LP_C1_Template.png?v=1717426429"},{"product_id":"eddie-the-ant-hill-mob-the-number-runner","title":"The Number Runner","description":"\u003cp class=\"dropcap\"\u003eDuring our excavation of the Boddie Recording Studio, a mysterious tape marked Ant Hill Mob turned up. On our return trip, Dante Carfagna turned up the codex for the entire studio, which lead to the discovery of this unissued Soul Kitchen 45. “Number Runner Parts 1 \u0026amp; 2\" falls in right around the time of Boddie’s Creations Unlimited 45, made while breathing the same psychedelic fumes pouring out of Thomas and Louise Boddie’s pressing plant smoke stack.\u003cbr\u003e \u003cbr\u003e Ezra “Eddie” Robitson, born into a musical family on Cleveland’s East Side, was taken under the wing of his singing aunt Ruby Carter. Her only soul single, 1971’s “What About Me” b\/w “Unlucky Girl,” was pressed at Boddie, issued on Lester Johnson’s \u003ca href=\"http:\/\/dev.numerogroup.com\/products\/eccentric-soul-the-way-out-label\"\u003eWay Out\u003c\/a\u003e label, and enjoyed modest local airplay. When Ruby’s band the Exceptional Three split, young Eddie was pulled in to handle bass for Carter’s new live band. With chops honed on the Cleveland club circuit, Eddie began drafting a band of his own. Built from fellow John F. Kennedy High alums, his Ant Hill Mob included singer Rahman Melton, trap-setter Mike Wilson, percussionists Norman Robinson and Kenny Clay, and 15-year-old Michael Hampton on guitar. Their 1972 schedule included regular gigs at the Harris family–owned Sir Rah House and Robert’s Steak House (home of the “Big Rob Hamburger”).\u003cbr\u003e \u003cbr\u003e The Ant Hill Mob name refers, of course, to Clyde, Ring-A-Ding, Mac, Danny, Rug-Bug Benny, Willy, and Kirby—the tommy gun–toting crew of gangster dwarfs that first appeared in Hanna-Barbera’s Wacky Races cartoon series. The group’s sole recording session saw them at work on a similar fantasy, detailing the lifestyle of a number runner—the pusher, essentially, for illegal, ghetto-based lottery schemes. Neither Eddie nor any member of the group, as far as he knew, ever actually worked in this lucrative field. 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Although the band members each received a copy, only one example has ever surfaced in the public sphere.\u003c\/p\u003e","brand":"Numero Group","offers":[{"title":"45","offer_id":40260682711238,"sku":"ES007lp","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40260682678470,"sku":"ES007dig","price":2.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/atom-1539202205.png?v=1626880410"},{"product_id":"willie-wright-telling-the-truth","title":"Telling The Truth","description":"\u003cp\u003eBorn of Harlem doo-wop roots and refined by Boston’s counterculture scene, Willie Wright arrived in Nantucket in 1976 well worn by two decades of street corner and club performing, eager to make the easy money only a private yacht clientele could guarantee. Trapped on the island over winter, a set of original songs poured into his cover-heavy set. 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Despite blaring its title in Christmas-y, green-and-red cover lettering, \u003cem\u003eDresses Too Short\u003c\/em\u003e never found its season creatively or commercially, selling just a few thousand copies before being discontinued in the mid ’70s.\u003c\/p\u003e\n\n\u003cfigure\u003e\t\u003cimg src=\"https:\/\/s3.amazonaws.com\/numero-cdn\/images\/atoms\/syl-johnson-dresses-too-short\/atom-1605112069.jpg\"\u003e\t\u003cfigcaption\u003eSprite Bottle Green Edition\u003c\/figcaption\u003e\n\u003c\/figure\u003e","brand":"Numero","offers":[{"title":"LP (Sprite Bottle Green)","offer_id":40260920082630,"sku":"NUM1207LP-C1","price":25.0,"currency_code":"USD","in_stock":true},{"title":"LP","offer_id":40260920049862,"sku":"NUM1207lp","price":23.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40260920017094,"sku":"NUM1207dig1","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/files\/atom-1605112069.jpg?v=1701885636"},{"product_id":"syl-johnson-is-it-because-im-black-deluxe-50th-anniversary-edition","title":"Is It Because I’m Black (Deluxe 50th Anniversary Edition)","description":"\u003cblockquote\u003eAfter Martin Luther King got killed, I wanted to write a song.\u003c\/blockquote\u003e\n\u003cp class=\"dropcap\"\u003eTen years into his role as poster boy for pop soul and peak-hour R\u0026amp;B, Syl Johnson did an unlikely about-face and cut the most inspiring and powerful song he’d ever touch. “I didn’t want to write no song about hating this people or hating that people,” Johnson said. “I really didn’t have no vendetta against people. It’s a sympathy song.” Issued on 45 in September of 1969, “Is It Because I’m Black” struck an immediate chord within the black community, forcing the song up the charts by sheer volume of call-in requests. It would be Syl’s biggest hit for Twinight, climbing as high as #11 on the \u003cem\u003eBillboard\u003c\/em\u003e R\u0026amp;B chart during its 14-week stay, marking the defining moment of what had become more than just an occupation. Syl had his hands on a career.\u003cbr\u003e\n\u003cbr\u003e\nThe days of shuckin’ and jivin’ through dance songs were over, replaced by a heavy and sometimes cynical undertone that would dominate Syl’s output for the foreseeable future. As the world-at-large was changing, so was Syl’s personal life. Fed up with 13 years of her husband’s life-on-the-road, Hazel Thompson checked out of their bungalow at 6843 S. Aberdeen. The formerly rock-solid band was beginning to show cracks too, as the pressures of an offstage life took their toll. Willie Henderson was the first to duck out, grabbing his shot at producing Tyrone Davis for Brunswick. “It kind of fell apart,” Syl lamented. “Zachary became an entrepreneur. George Moss couldn’t travel. Harvey Burton was teaching school. And Cameron couldn’t go on the road. His wife wouldn’t let him.” For the first time in 33 years, Syl Johnson found himself alone. He holed up at Twinight’s woodshedding studio at 2131 S. Michigan (the former address of both King and USA Records) and spent the bulk of 1969 tinkering. That storefront space would host the rehearsal of several Johnson productions, before Syl made an 11-door journey north to Chess’s Ter-Mar studios, where many of his Twinight records, and those of others, were ultimately set to tape. But first he had to find a new band.\u003cbr\u003e\n\u003cbr\u003e\nSeven blocks north of Ter-Mar, Brunswick's Jalynne Sound house band was feeling awfully underappreciated at the hands of A\u0026amp;R director Carl Davis. Davis had put the group together piecemeal after walking out of OKeh in 1965, installing Bernard Reed on bass, guitarist John Bishop, trumpeter Michael Davis, alto saxist Jerry Wilson, and drummer Hal “Heavy” Nesbitt. Jalynne Productions set up shop at Roosevelt and Wabash, housing Davis’ publishing and managing concerns, the latter of which boasted a stable of Gene Chandler, Otis Leavill, the Opals, Major Lance, Billy Butler, and Walter Jackson. When Jackie Wilson showed up at Jalynne, looking for a hit to revive his faltering career, everything changed. Following Wilson’s success with the Barbara Acklin\/Eugene Record penned “Whispers” for Brunswick in 1966, Davis leveraged his new job at the label to set up a Jalynne writing workshop and studio in the old Vee-Jay offices at 1449 S. Michigan. The group would be used on many Brunswick and Dakar recordings between 1967 and 1969. But they were most egregiously offended at being left off the credits on Young-Holt Unlimited’s “Soulful Strut” (when, in fact, neither Eldee Young nor Isaac “Red” Holt had even played on the Top 5 Pop hit).\u003c\/p\u003e\n\u003cp\u003eBassist Bernard Reed recalls Jalynne’s acrimonious split with Brunswick: \u003cbr\u003e\n\u003cbr\u003e\n“I was a little disillusioned with how things were going for me down there. So we left Brunswick, and we got downstairs, and Jerry Wilson, the horn player, he said, ‘Well, hey, Syl Johnson is right up the street. We can go down there and talk to him. I know he’s looking for a band.’ And that’s what we did. We walked down the street to Syl’s place. He was right across the street from Chess Records then. We were on Record Row. Syl had a little rehearsal studio there set up. He wasn’t doing any major recording, but he had a machine there where we could make little dubs of what we wrote. Syl let us come in in the mornings, and we’d stay there up until the late hours of the night, practicing and performing new songs and putting together our own act. We dropped the Jalynne Sounds when we left Brunswick, I came up with the name Pieces of Peace. It just came to me as sort of a play on words. It was during that whole era—peace, flower power, during the end of the ’60s. It sounded good to me, and I mentioned it to the fellows, and they said, ‘Well, that’s who we are now! The Pieces of Peace!’”\u003c\/p\u003e\n\u003cp\u003eSyl put the Pieces of Peace rhythm section to work immediately, employing Reed, Bishop, and Nesbitt on the no-frills “Is It Because I’m Black.” Before the single even hit the streets, much less the charts, the full band was marked present on the Dynamic Tints’ Reed-composed “Package of Love Pt. 1 \u0026amp; 2” and had backed up Syl up on a handful of regional dates. With no one waiting at home and a band with nowhere else to go, Syl worked tirelessly rehearsing his next opus, an album of songs reflective of the changing times. With “Is It Because I’m Black” still bolding the pages of \u003cem\u003eBillboard\u003c\/em\u003e, the coming LP’s title appeared to Syl plain as day—or, in this case, black as night.\u003cbr\u003e\n\u003cbr\u003e\nIssued in April 1970—a full 13 months before Marvin Gaye’s \u003cem\u003eWhat’s Going On\u003c\/em\u003e—\u003cem\u003eIs It Because I’m Black\u003c\/em\u003e can rightly be called the first black concept album, a distinction few give it credit for. But that factoid, whatever its meaning then or now, failed to inspire music buyers: Johnson’s record never got a whiff of the two million copies Gaye’s did in its first year of availability. Syl lays the blame squarely on the record’s lack of marketability to a white audience: \u003cbr\u003e\n\u003cbr\u003e\n“That was a college record. Black college kids. They’re political. But these kind of records tend to hurt you a bit. You’ve got white people, and then you’ve got white liberals. But you’ve got white people who care nothing about you talking about being black. They say ‘Why shouldn’t I sing “Is It Because I’m White”?’ They just don’t care for it. Not that they hate it, but they’re not going to pay five or six dollars to buy an album of it.”\u003c\/p\u003e\n\u003cp\u003eThe album’s cover didn’t exactly move units either. Photographer Jerry Griffith dragged Syl to a burned-out building on 43rd Street to shoot the back cover image, and he finger-painted the iconic title over a stock photo of an eroding brick wall. The title track, coupled with the politically charged “I’m Talking About Freedom” and ghetto conscious “Concrete Reservation” sealed the album’s cool reception as the work of an “angry black man.” Which is unfortunate, as “Together Forever,” “Come Together,” and “Black Balloons” are positively uplifting, forming their own pot of gold at the end of a grayscale rainbow. The album’s closer burns the brightest. “Right On” devolves into a full-on party track, ending with Syl riffing on the line “I’m gonna keep on doing my thing,” as if to answer his critics before their needles reached the run-out groove.\u003c\/p\u003e\n","brand":"Numero","offers":[{"title":"Grey\/Back Swirl Vinyl","offer_id":41641088909510,"sku":"NUM1208LP-C1","price":25.0,"currency_code":"USD","in_stock":true},{"title":"Black Vinyl","offer_id":42872870895814,"sku":"NUM1208lp","price":25.0,"currency_code":"USD","in_stock":true},{"title":"Deluxe Vinyl","offer_id":40260925423814,"sku":"NUM1208LP-DLX","price":25.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40260925391046,"sku":"NUM1208digital","price":8.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/NUM1208lp-C1_MockUP-Edited.png?v=1671838705"},{"product_id":"sixth-station-deep-night","title":"Deep Night","description":"\u003cp\u003eA raw cry from the dark night of one man’s soul. 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While their unflappable energy is a prime mover on the a-side, the real treat here is elegant work from backing band the Soul Partners. Bearing the Amazing banner, this disc marked the first recorded appearance of the band that evolved into Al Hudson's Soul Partners (“Spread Love”) and eventually One Way. 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Alert soul aficionados will note the name Art Monday IV, better known as Arthur Monday for his “What Goes Around Comes Around” 45 on Stage Music. Monday brought that record’s same buoyant production to Dockery's solo turn on “My Faith In You Is All Gone,” penned by one-time Syl Johnson—and future Al Green—songwriter Earl Randle. Sporting Soul Craft’s unadorned red label, “What Goes Around Comes Around” is not only gold in the North of England, but a contagious soul eccentricity with appeal for ears in every cardinal direction.\u003c\/p\u003e\n","brand":"Numero Group","offers":[{"title":"Digital","offer_id":40260940038342,"sku":"ES032digital","price":2.0,"currency_code":"USD","in_stock":true},{"title":"45","offer_id":40260940071110,"sku":"ES032lp","price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/atom-1539203553.png?v=1626880531"},{"product_id":"young-souls-quit-waiting-for-tomorrow-to-come-bw-puppet-on-a-string","title":"Quit Waiting For Tomorrow To Come b\/w Puppet On A String","description":"\u003cp\u003eThe nothing that is known about the Young Souls corresponds perfectly to the band’s brief existence, during which it never even eked out a single release. Their bid to leave a recorded legacy was left to producer\/manager Earl Wiley, who commissioned a demo session to capture several of his own compositions. Stripped down to their bare bones, the Young Souls burn brilliant over minimal arrangements. “Quit Waiting For Tomorrow To Come” is a mid-tempo stepper guaranteed to instantly earn its spot in discerning deejay play boxes, while “Puppet On A String” fulfills the tasteful group-harmony ballad prerequisite.\u003c\/p\u003e\n","brand":"Numero Group","offers":[{"title":"Digital","offer_id":40260940923078,"sku":"ES035digital","price":2.0,"currency_code":"USD","in_stock":true},{"title":"45","offer_id":40260940955846,"sku":"ES035lp","price":12.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/atom-1539203594.png?v=1626880533"},{"product_id":"signs-of-the-time-hurts-so-bad-bw-i-think-of-you","title":"Hurts So Bad b\/w I Think Of You","description":"\u003cp\u003eAdding to a list that includes Little Anthony \u0026amp; the Imperials, Linda Ronstadt, Jackie DeShannon, Grant Green, and the Delfonics, Boyce \u0026amp; Hart’s 1965 hit “Hurts So Bad” gets remade St. Louis-style on Signs of the Time unreleased second single. 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A pair of 45s emerged on the Cash and CRA imprints prior to the trio penning a contract with Curtis Mayfield's Gemigo label, and “That Girl” b\/w “This Time I’m For Real” were shelved, or abandoned, more accurately. 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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":"24-carat-black-acetate","title":"Acetate","description":"\u003cp\u003eWhen we first got the tapes for what became Numero 025, or 24-Carat Black’s \u003cem\u003eGone: The Promises of Yesterday\u003c\/em\u003e, we thought we had a lot more material from which to compile. Of the four tapes we transferred, only six usable tracks managed to make it off the reel. The rest were in such bad shape that we got just one pass at capturing what was left. And on that pass, the tape fell apart as we ran it. Live degradation! Even though they’re just this side of inaudible, we’ve always nurtured the soft spot in our hearts for these withered 24-Carat Black songs. But how to package and present the barely listenable? \u003cbr\u003e \u003cbr\u003e True, we’ve come across our fair share of scorched acetates. Flaking, cracking, bubbling…most are treated to, at best, a single play before clanging the side of a dumpster....even if there's beauty in their physical decay. To give you a forkful of that Hope Served Over a Bed of Steamed Disappointment we so often partake of, we’ve distilled the entropic tape as a 10\" picture disc, disguised as a flake-away acetate. You read that right: Picture disc. In a stamped kraft paper sleeve. 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