{"title":"March Sadness 2026","description":"","products":[{"product_id":"eccentric-soul-the-capsoul-label","title":"The Capsoul Label","description":"\u003cp\u003eWhere everything Numero begins. Three guys in a purple Saturn station wagon drove down to Columbus, Ohio, and came back to Chicago with a lost label—the rest is history. In the early ’70s, Bill Moss’ Capsoul imprint could barely break wind in the larger music marketplace, and yet today the label’s output can stand shoulder-to-shoulder with any classic soul of its era. Isolated in central Ohio and lacking the funds to back them, groups like the Four Mints and Johnson, Hawkins, Tatum \u0026amp; Durr might’ve easily withstood ten rounds against the Temptations, Smokey, or Otis. The scrappy Capsoul writing team of Dean Francis, Jeff Smith, and Norman Whiteside would’ve gone blow-for-hook-filled-blow with any Gamble \u0026amp; Huff or Holland\/Dozier\/Holland cared to throw at them. From Bill Moss’ civil rights meditation “Sock It To ‘Em Soul Brother” to Marion Black’s future hit about the future “Who Knows” to Kool Blues bounding “I’m Gonna Keep on Loving You,” Eccentric Soul: The Capsoul Label remains dollar-for-dollar the best soul compilation of its century and the perfect primer for anyone piqued by the Eccentric Soul series.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp class=\"dropcap\"\u003eAs the capital of arguably the most soulful state in the nation, Columbus, Ohio is remarkably unassuming. Just south of the rust belt and barely above the Mason-Dixon, it is surrounded by the fertile crescent of American R\u0026amp;B. Propped up culturally and economically by the largest university in the country, it had neither the boom nor the bust of nearby meccas Detroit and Memphis. Columbus was a stable burg where talent could flourish unmolested by the prospect of stardom, a the perfect environment in which idiosyncratic, eccentric soul music could thrive.\u003c\/p\u003e\n\u003cp\u003eCapsoul, short for Capital City Soul, released in its five short years only a dozen 45's and one highly-sought-after LP but managed to score several regional smashes and one national hit before collapsing under the weight of its own debt and hubris. The catalog languished afterward in a sort of limbo, too obscure to find new life on oldies and dusties stations or on Time-Life collections, but too common to attract serious interest from collectors of rare soul. But 30 years after it ceased to exist, the Capsoul label would rediscover its original audience, lying in wait somewhere between the mainstream and the underground.\u003c\/p\u003e\n\u003cp\u003eThe roots of Capsoul sprouted in 1966, during Bill Moss’s tenure as a popular DJ at WVKO Columbus. Moss pooled the resources of a few low rollers around town to launch the short-lived Nassau label, a tribute to his native Bahamas. Right out of the gates, “Ooo-Poo-Pa-Doo” b\/w “East 24th Ave” by Billy Graham and the Escalators was picked up by Atlantic Records, where it promptly fizzled. The second release on the starkly pink label would yield better results. Moss met a young singer named Ronnie Taylor who’d had recording success already as a member of the Four Pharaohs, themselves hit makers for Cincinnati’s King label and the local Ransom imprint. Taylor recorded a dazzling double-sider, “Without Love” backed with “I Can’t Take It,” which soon attracted interest outside the capital, this time with Lebaron Taylor’s Revilot label, who was currently hitting with The Parliaments, Darrell Banks, and The Holidays. Taylor’s record managed to chart with this higher profile release, but neither Moss nor Taylor ever saw any money from the release, which would begin an unfortunate trend for Moss’s productions. Before folding the label, Moss would take a last crack with “Memories Are Made Of This,” his debut as an artist, but an unfortunate and mediocre crooner.\u003c\/p\u003e\n\u003cp\u003eMoss’s next endeavor partnered him with local promoter Jim Justus to form another small imprint, the Holiday label. Its first two singles, issued in 1968, were by the same group under two different names. Both the Vondors and the Soul Partners were made up of Jay Almon, Jimmy Norbit, Ron Farthing, Roscoe Almon, Ronnie Threatt, \u0026amp; L.A. Almon. “Walk On Judge” by the Soul Partners charted locally, giving Moss the confidence to use his WVKO clout and shove the single into the hands of Larry Uttal at Bell. Uttal picked up the 45 and even went so far as to bankroll the next Soul Partners single. Moss used this relationship to distribute his next two efforts as a solo artist, a pair of singles that matched his positive approach. Banking less on his vocal chops than on charisma and charm, both “Sock It To ‘Em Soul Brother” and “Number One” were triumphs. The former, a tribute to African-American leadership, had inherent attraction to the black radio culture that was peaking nationwide. The latter, a surprisingly irresistible “father’s lecture” set to music, may not have hit number one, but it did chart nationally. Bill Moss, however, never saw a dime, and after Bell refused to even pay for the studio time, he pulled the masters and ended the relationship.\u003c\/p\u003e\n\u003cp\u003eBefore the Soul Partners channeled their success at Bell into national tours and deals with Scepter and, later, Utopia and Rainbow Collection, they backed one last session in 1969 for an up-and-coming vocal group, the Four Mints. James Brown, Louis Dotley, Bobby Shank, Herschel Davis, and James Spencer started out at East High in 1955 as the Five Mints, but by the time of their Musicol session, the Five had been whittled down to one. Joining Brown on the sublime ballad “You’re My Desire,” and its flip “You’ll Want To Come Back,” was doo-wop floater Ben Caldwell, Timeless Legend brother Jimmy Harmon, and Donald Russell. The 45 was strong opening salvo to an impressive recording career, but it failed to attract much attention.\u003c\/p\u003e\n\u003cp\u003eBy 1970, Bill Moss had tired of his work as a DJ and regional promoter and decided to give the label business one more try. His last-hurrah act at WVKO took the form of a talent show, a surreptitious recruitment drive for his nascent brand. All the most important local musicians of the era competed, but it was dark horse Marion Black who stole the show with his heart-wrenching performance of “Go On Fool”—later to appear as the first single on the Capsoul label. Sales skyrocketed in every city that gave it airplay. Although most deejays preferred the vastly superior B-side “Who Knows,” AVCO\/Embassy licensed the single and issued promotional copies with only “Go On Fool” on it. Nationally, “Who Knows” would ultimately be ignored.\u003c\/p\u003e\n\u003cp\u003eStill, that tiny morsel of success gave Moss a taste for the real thing. With a small chunk of cash and the help of a couple Ohio State engineering students, Moss built a small studio at 3504 N. High Street, which quickly became home base to a bright team of musicians and songwriters hungry for a shot. Audiophile and chronic record store employee Jeff Smith would scratch out songs on guitar. Dean Francis, already known for his locally released single “Funky Disposition,” played drums and quickly grew as a star songwriter. Moss imported the now legendary Billy Wooten from Indiana to play vibraphone. Frank LaRue, a University violin teacher created all the Capsoul string arrangements with the help of some of his best students. Dwight Cartier, Steve Taylor, and Terry Wilkes filled out the bass, keys, and rhythm guitar. And Bill’s fledging company got a boost when he was able to secure a $30,000 loan from City National Bank. Moss had taken care of the money, the music, and the management. All he needed now was raw talent.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eVirgil Johnson, Al Dawson, Willie Tatum, and Norris Durr were a group of neighborhood kids who called themselves the Revelations. Prompted by a friend, Moss decided to give them an audition. What they sang that day was anything but a revelation, but those voices were right on. Liking the ring that Crosby, Stills, Nash \u0026amp; Young had coming off the tongue, Moss re-christened the group Johnson, Dawson, Tatum \u0026amp; Durr. A few weeks later he would absent-mindedly swap “Dawson” for “Hawkins” while laying out the labels for their first single, “You Can’t Blame Me,” accidentally renaming them for a third time. If you haven’t heard it yet, stop reading right now and drown yourself in pure liquid soul. Moody, complex, dark, with a shockingly unique falsetto lead courtesy of Virgil Johnson and a proto-hip-hop bass line beat that grooves like a bus on speed bumps, “You Can’t Blame Me” is tense and intense. The flip, “Your Love Keeps Drawing Me Closer,” made a dent on the soul dance scene but couldn’t touch the impact of the a-side. Few records could. It was played everywhere and went to number one throughout the Midwest and up and down the eastern seaboard. While crucial cities such as Chicago and New York overlooked it, sales in places like Baltimore, Philadelphia, and Cleveland were massive.\u003c\/p\u003e\n\u003cp\u003eThe success of that first single was no mystery. Virgil Johnson’s hypnotic and unsettling lead was the linchpin of its popularity. Unfortunately, Virgil knew it as well as anyone else. After their second single, “You’re All I Need to Make It” b\/w “A World Without You” was in the can, Virgil was ready for the big time and Capsoul, he figured, wasn’t getting him there fast enough. One very heated confrontation later, Johnson was thrown off the roster. Pride-bound, he immediately moved to Los Angeles, where he encountered the hard truth of his own insignificance. One of a million singers trying to get a gig in the big city, he was forced to return to Ohio just a few years later and has, as far as anyone can tell, never recorded again.\u003c\/p\u003e\n\u003cp\u003eBeginning a trend of recycling instrumental tracks, Moss retroactively filled a hole in the catalog between “Go On, Fool” and “You Can’t Blame Me” with a single by the generically named Capsoul Group. Moss snagged the instrumental to his second Bell single, “Number One,” and tacked it on to the string heavy instrumental to “You’re All I Need To Make It,” but the two sides couldn’t have come from further places. The a-side was backed by a gaggle of hourly session men, but its flip was a product of the scrappy group of amateurs and semi-pros plying their trade at 3504 N. High. \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThe instrumental to “Sock It To ‘Em Soul Brother” was also revived after Moss licensed “Pure Soul” from the South Carolina group Elijah \u0026amp; the Ebonites. Lead by Elijah Hawthorne, the original release of the song appeared on their own Superior label and featured a cover of “Yes I’m Ready” by Barbara Mason on the flip. As Moss wasn’t fond of releasing cuts he didn’t publish, he slapped “Soul Brother” on the other side and issued it on the Loren imprint, named for his first son.\u003c\/p\u003e\n\u003cp\u003eIn the wake of “You Can’t Blame Me,” pressure was on Capsoul to deliver hits. City National loomed in the rearview mirror on every out-of-town promotion junket. Hoping to change his fortunes, Moss produced and issued a barrage of singles. The Enticers, another vocal group from the WVKO talent show, had by then narrowed their line-up to a duo, Tennessee natives John Primm and William Gilbert, and were known as the Kool Blues. Their first single, “Why Did I Go,” was from the pen of Dana Middleton and Jeff Smith and would later be retread by the Four Mints. “I’m Gonna Keep On Loving You”—which draws inspiration from the duo’s home state heroes at Stax—was penned with the help of young upstart Norman Whiteside, a hanger-on around the Capsoul studio. Whiteside later formed the band Wee and recorded an LP that—along with the Four Mints’ \u003ca href=\"http:\/\/www.numerogroup.com\/products\/four-mints-gently-down-your-stream\"\u003e\u003cem\u003eGently Down Your Stream\u003c\/em\u003e\u003c\/a\u003e LP and Timeless Legend’s \u003cem\u003eSynchronized\u003c\/em\u003e LP—are considered the finest soul albums in Columbus history. While it’s absurd that the single was ignored, the b-side saw life again years later on the northern soul scene. Their second single featured two excellent ballads: “Can We Try Love Again,” a funky, mid-tempo rug slasher, was backed by the eerie, contemplative “I Want to Be Ready.” Among the last singles on the Capsoul label, it barely even attracted the marginal attention of its predecessor.\u003c\/p\u003e\n\u003cp\u003eWhile Moss recovered from Johnson, Hawkins, Tatum \u0026amp; Durr’s break-up, he was able to re-unite with the Four Mints, then eager to enter the studio again. Without much difficulty, “Row My Boat,” written specifically for the group by Dean Francis, went to the top of the local charts. A timeless single, the song interpolates elements of the nursery rhyme “Row Your Boat” into the melody. Lead singer Ben Caldwell’s breathtaking vocal range, somewhere between a caramel tenor and a pure sugar falsetto, was a perfect recipe for the soul style of the moment. Though originally issued on Capsoul, this single also has a scarcer alternate pressing on Loren.\u003c\/p\u003e\n\u003cp\u003e1973 was the year of Four Mints, with a total of three singles emerging, the largest output for the label thus far. “Can’t Get Strung Out” saw two pressings, the first with “In A Rut” on the flip, the second issue with the Mints’ take on “Why Did I Go.” They closed out the year with a reissue of their Holiday single, which fared better this time, boosted by the Capsoul imprint’s new notoriety. This surge in extraordinary output, however, wasn’t enough to save the label from receivership, despite one more close call that nearly put the books in the black. While on the road in Memphis promoting the singles, Bill Moss and Four Mints founder James Brown heard breaking news that Al Green had been hospitalized after being scalded by hot grits. Inspired, they raced back to Columbus to resurrect “Pure Soul” by Elijah \u0026amp; the Ebonies as “Hot Grits!!!” It was re-re-released on Capsoul and found life via novelty appeal throughout the south.\u003cbr\u003e \u003cbr\u003e The final Capsoul release would be the Four Mints only album, Gently Down Your Stream, a collection of their 45’s plus one leftover, “Too Far Gone,” another Dean Francis masterpiece. Neglecting to issue this as a single may have been one of Capsoul’s greatest errors; it stands with “Row My Boat” as the Mints’ finest recorded moment. The album’s release did nothing but showcase the exceptional output of this vocal group, though its scarcity today indicates that sales never even exhausted a first pressing.\u003cbr\u003e \u003cbr\u003e Around the end of 1974, City National informed Bill that he was too “emotionally involved” with the label and that they’d decided to pull the plug on Capsoul. Things got dire when Moss showed up at 3504 N. High Street to find the door padlocked, forcing him to break in to his own studio to abscond with the master tapes. Uneasy about keeping them at home, he secured them safely at a friend’s place in the rural outskirts of the city. Several years later, he’d return for them only to find that the tapes had been destroyed in a flood. And it gets uglier. Fed up and disgusted with the record business, Moss drove to Queen City in Cincinnati with the remaining Capsoul 45’s and had them recycled for a pittance in returns.\u003c\/p\u003e\n\u003cblockquote\u003eCapsoul was my first love. You never get over that one.\u003c\/blockquote\u003e\n\u003chr\u003e\n\u003cp\u003eAnd so Capsoul lay entombed for 30 years, the seeds of its promise spread out in hopes of discovery by a future generation. The cast and crew followed suit. Marion Black found his way to Harmonic Sounds across town and recorded a few moody singles for Clem Price’s Prix label. Taylor joined the military and recorded killer funk with Sojourner Truth in Kentucky, and even deadlier funk with O.F.S. Unlimited, also on the Prix label. Black works, as he has since his recording days, as a waiter in upscale Columbus establishments, while Taylor relocated to New Zealand, where he lives to this day. The Four Mints never made another record but still perform semi-professionally in and around Columbus. Dean Francis would keep writing and recording, working with Timeless Legend and Jupiter’s Release with former Kool Blues Billy Gilbert and John Primm. Gilbert took a job as an inspector for the City Of Columbus, while Primm moved back to Nashville. No one has heard a peep out of Virgil Johnson since his sheepish return from Los Angeles. Jeff Smith recorded a few more times in the 1970s but sadly died of cancer in 1997. \u003cbr\u003e \u003cbr\u003e Bill Moss would eventually enter politics, declaring that it couldn’t be as cutthroat as the music business. He ran for congress in 1976 and won election in 1977 (and six later re-elections) to the Columbus school board. He even ran for mayor in 1985 but was handily defeated. When we met with Moss in March of 2003, he could still be heard on WVKO radio, on Saturday mornings as the host of his “Let’s Talk” show and on Sunday afternoons with his own “Good News Sunday Gospel.” We enjoyed a few all-too-brief years of friendship with Bill before his sudden death on August 1, 2005.\u003cbr\u003e \u003cbr\u003e Before he passed, Moss reflected, “Capsoul was my first love. You never get over that one.” \u003cbr\u003e\u003c\/p\u003e","brand":"Numero","offers":[{"title":"Gold Vinyl 2xLP","offer_id":43186922782918,"sku":"NUM001LP-C1","price":31.0,"currency_code":"USD","in_stock":true},{"title":"2xLP","offer_id":43186922455238,"sku":"NUM001lp","price":25.0,"currency_code":"USD","in_stock":false},{"title":"CD","offer_id":40259322511558,"sku":"NUM001cd","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40259322544326,"sku":"NUM001dig1","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/NUM001lp-C1CapsoulLabelGoldVinyl2xLPTransparent.png?v=1675449475"},{"product_id":"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. 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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. Dante Carfagna’s notes provide crucial insight into Prix’s place on the local scene, and the package is illustrated with dozens of photographs, label scans, and a discographical survey of this brief, but brilliant early ’70s label. \u003c\/p\u003e\n","brand":"Numero","offers":[{"title":"CD","offer_id":40259734732998,"sku":"NUM015cd","price":12.0,"currency_code":"USD","in_stock":false},{"title":"Digital","offer_id":40259734765766,"sku":"NUM015dig1","price":10.0,"currency_code":"USD","in_stock":true},{"title":"2xLP","offer_id":40259734798534,"sku":"NUM015lp","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/atom-1538772386.jpg?v=1626880304"},{"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":"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. 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For 35 years, the sketches for 24-Carat Black’s sophomore release hibernated in keyboardist and session engineer Bruce Thompson’s basement below the south side of Chicago. Abandoned by arranger Dale Warren when the studio bill darkened his mailbox, the tapes, over decades, had fallen into soggy disrepair, useless save for the six tracks featured on our release. \u003cem\u003eGone: The Promises Of Yesterday\u003c\/em\u003e is by no means a sequel to \u003cem\u003eGhetto: Misfortune’s Wealth\u003c\/em\u003e—missing are the poignant and bleak sermons on the pain of inner-city existence, replaced by dusky, sensuous re-workings of tainted love songs Warren had written as far back as 1965, during his time as a songwriter at Shrine and Motown. 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Sold from the trunk of a car and from a handful of resort stages, the humble album disappeared into the collections and garages of Nantucket tourists, taking what was left of a near-30-year career along with it.\u003cbr\u003e\u003c\/p\u003e","brand":"Numero","offers":[{"title":"Nantucket Blue Vinyl","offer_id":42040765087942,"sku":"NUM038.2lp-C1","price":27.0,"currency_code":"USD","in_stock":true},{"title":"Black Vinyl Repress","offer_id":42040933482694,"sku":"NUM038.2lp","price":25.0,"currency_code":"USD","in_stock":true},{"title":"CD+4.72in","offer_id":40260700799174,"sku":"NUM038cd","price":15.0,"currency_code":"USD","in_stock":false},{"title":"Digital","offer_id":40260700733638,"sku":"NUM038dig","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/NUM038.2LP-C1-Willie-Wright-mock-Edited.png?v=1671839124"},{"product_id":"deacons-fabulous-fascinators-feat-the-royal-revue-sock-it-to-me-bw-is-it-because-im-black","title":"Sock It To Me b\/w Is It Because I'm Black","description":"\u003cp\u003eFrom the mighty pen of Syl Johnson! 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The flip is from San Antonio’s Fabulous Fascinators, who turn in a stirring psychedelic-blues version of “Is It Because I’m Black.”\u003c\/p\u003e\n","brand":"Numero Group","offers":[{"title":"45","offer_id":40260707680454,"sku":"ES013lp","price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/atom-1539202441.png?v=1626880422"},{"product_id":"penny-the-quarters-you-and-me-bw-some-other-love","title":"You and Me b\/w Some Other Love","description":"\u003cp\u003eSometime in 2005, a lone box of master tapes escaped an estate sale and made its way through a network of collectors, record dealers, and “junkers” into the hands of leading Ohio soul expert Dante Carfagna, who linked them to Columbus, Ohio’s mysterious Prix label (See: Eccentric Soul: The Prix Label). A bit of research turned up Prix proprietor George Beter, who identified most of the unlabeled material. All it took was an endless series of phone calls and letters and two fields trips in Columbus. But one complete mystery wended its way onto our final Prix compilation. “You and Me,” a simple but irrepressible demo credited only to Penny \u0026amp; the Quarters, was found tacked onto a mixed studio reel. Our survey of every willing lifer left on the Columbus soul scene, including retired DJs, producers, and important local artists, produced not so much as a glimmer of recognition at the name Penny \u0026amp; the Quarters. Though we loved the song from the first play, it may’ve ended up a bit buried on our original compilation, as #18 of 19 tracks.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eFour years later, Eccentric Soul: The Prix Label hadn’t exactly become a huge seller, although listeners had repeatedly told us that the unfiltered studio demos that fill out the record’s back half were true diamonds in the rough. But neither Penny nor her Quarters had appeared to claim credit for their efforts. Then, completely out of left field, we heard from respected screen actor and avowed Numero fan Ryan Gosling that Penny’s piercing bit of stripped down doo-wop was being considered for inclusion in Derek Cianfrance’s indie-weeper film Blue Valentine. What we didn’t know was that “You and Me” had won a major role in what became an indie circuit hit, and that Penny \u0026amp; the Quarters would instantly assume the role of world’s most famous unknown doo-wop group.\u003c\/p\u003e\n\u003cp\u003eEvery week is a slow news week in Columbus, Ohio, and early January 2011 found the city recovering from the thrill of elevating Ted Williams—the formerly homeless guy with the awesome voice for radio—into a national news sensation. But both major daily newspapers in town, as well as the city’s alternative weekly, also ran stories about how a lost and unknown Columbus soul group had become the musical centerpiece of a film already garnering Oscar buzz. That mainstream spotlight aimed at Blue Valentine and Penny \u0026amp; the Quarters did the trick: we finally made contact with the widow of Jay Robinson, lead Quarters’ singer and songwriter. Robinson, it turned out, had also been the leader of Columbus doo-wop pioneers The Supremes (later known as “The Columbus Supremes,” for reasons which should be obvious). Jay Robinson never did give up on the dream of writing a hit record; even so, the posthumous realization of his dream is cold comfort for his widow and daughter. With their blessings, we returned to those estate sale masters and pulled down another neglected track (“You Are Giving Me Some Other Love”) from the still-unknown Penny and her now-partly-known Quarters. “You and Me” is a song that could not be suppressed: not when Prix failed to release it; not when Penny \u0026amp; the Quarters were forgotten; not when Numero stuck it at the bitter end of a much overlooked compilation. Its evolution from estate sale trash to silver-screen gold has finally returned it to big-hole 45, where it probably should have lived all along.\u003c\/p\u003e","brand":"Numero Group","offers":[{"title":"45 (Blue Valentine Vinyl w\/ Blue Sleeve)","offer_id":44383129862342,"sku":"ES018lp-C3","price":13.0,"currency_code":"USD","in_stock":false},{"title":"45 (Orange Vinyl w\/ Pic Sleeve)","offer_id":41023502254278,"sku":"ES018lp-C2","price":13.0,"currency_code":"USD","in_stock":false},{"title":"45 (Purple Vinyl w\/ Pic Sleeve)","offer_id":40260719313094,"sku":"ES018lp-C1","price":13.0,"currency_code":"USD","in_stock":false},{"title":"45","offer_id":40260719280326,"sku":"ES018lp","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40260719247558,"sku":"ES018dig","price":3.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/files\/ES018_mockup.png?v=1737039230"},{"product_id":"love-apple-s-t","title":"Love Apple","description":"\u003cp\u003eIn the late ’70s, three do-right women from Cleveland forged a brief partnership with Ohio’s everything man, Lou Ragland. Unlike the prefabricated singing combos of the day, Lily Pearson, Annette Warren, and Avetta Henry swapped lead duties as situation demanded. When a Ragland-centric publicity stunt preempted a concert appearance, Love Apple disintegrated, abandoning this rehearsal tape within the lo-fi confines of Thomas Boddie’s cherished Eastside studio. Devoid of bass, the sparse instrumentation (only Lou on guitar and piano and Hot Chocolate’s Tony Roberson on drums) accentuates each vocalist’s aptitude, showcasing some of Ragland’s finest songwriting in the process. During any given take, Ragland can be heard calling audibles, directing his singers to repeat a passage, or lending his own sweet tenor to the vocal mix. Never intended for release, Love Apple’s six-song sketch is the perfect companion to \u003cem\u003eI Travel Alone,\u003c\/em\u003e bringing Ragland’s unique musical vision into sharper focus. \u003c\/p\u003e\n\u003cp\u003eLove Apple - S\/T EP 12\"\u003c\/p\u003e","brand":"Numero","offers":[{"title":"Candy Apple Red Vinyl","offer_id":41413120458950,"sku":"NUM042.5lp-C1","price":21.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40260846452934,"sku":"NUM042.5digital","price":6.0,"currency_code":"USD","in_stock":true},{"title":"LP","offer_id":40260846485702,"sku":"NUM042.5","price":18.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/NUM042.5loveappleMockUpcopyTransparent_5201ccb3-3996-4511-a454-eeb9a14ac62d.png?v=1671231912"},{"product_id":"shirley-ann-lee-songs-of-light","title":"Songs Of Light","description":"\u003cp\u003eAfter wrapping the tracklist for \u003ca href=\"http:\/\/www.numerogroup.com\/products\/local-customs-downriver-revival\"\u003e\u003cem\u003eLocal Customs: Downriver Revival\u003c\/em\u003e\u003c\/a\u003e, we knew there was a smaller second record buried in the mountains of tape rescued from Felton Williams’ Ecorse, Michigan, basement. Born at the tail-end of a Depression that darkened the entire United States, Shirley Ann Lee took her talent as a singer and pianist from a grim, overcrowded house in Toledo, Ohio, to a glamorous, gospel-fueled adolescence on the road and in Nashville. It wasn’t until her return to Toledo after a disastrous marriage in Los Angeles that, for the first time in almost two decades of public performances, she found the urge to praise God with her own words. As the Revival label’s lone “star,” Shirley Ann Lee was afforded dozens of opportunities to record her songs, but only six sides managed to trickle out on 45 between 1967 and 1969. Using Revival’s aborted Shirley Ann Lee Radio Hour program as our guide, we’ve taken the best of her proper studio recordings, in-the-moment sketches, out-of-tune piano demos, and rehearsals with young kids talking in the background and created the Shirley Ann Lee album that never was. A one-LP revival of an unheralded gospel giant that is sure to convert the non-believers.\u003c\/p\u003e\n","brand":"Numerophon","offers":[{"title":"Digital","offer_id":40260859461830,"sku":"NPH44003digital","price":10.0,"currency_code":"USD","in_stock":true},{"title":"LP","offer_id":40260859494598,"sku":"NPH44003lp","price":15.0,"currency_code":"USD","in_stock":false},{"title":"LP (Brown Vinyl)","offer_id":40260859527366,"sku":"NPH44003lp-C1","price":15.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/shirley.jpg?v=1633539454"},{"product_id":"syl-johnson-dresses-too-short","title":"Dresses Too Short","description":"\u003cp\u003eSyl Johnson’s first LP hit stores in the summer of 1969. True to its era, it wasn’t so much an album as a collection of singles. The four non-single tracks (“Soul Drippin’,” “Fox Hunting On The Weekend,” “Same Kind Of Thing,” and “I’ve Got The Real Thing”—none of them a throwaway) were outtakes tacked on to capitalize on the expanding long-player market. Prolific designer and photographer Jerry Griffith shot the cover on a South Michigan Avenue building’s balcony. 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":"notations-this-time-im-for-real-bw-that-girl","title":"This Time I'm For Real b\/w That Girl","description":"\u003cp\u003eAfter Chicago’s Twinight label flamed out late in 1971, The Notations found themselves cutting on the far west side at Gene Cash’s custom Cash Recording studio. 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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":"kathy-heideman-move-with-love","title":"Move With Love","description":"\u003cp class=\"dropcap\"\u003eLodged between a heartbreak and a smoke break, Kathy Heideman’s \u003cem\u003eMove With Love\u003c\/em\u003e wandered off I-5 somewhere just south of Hungry Valley State Vehicular Recreation Area and broke down. At its dusty roadside, cheap truck-stop java flows over plaintive coffeehouse tunes concerning “Bob” and “Need.” Her session hand’s lanky, echo-laden guitar might’ve twanged a bit strong for the typical sandal-shoed hitchhiker, who’d have fell harder for Dylanesque grandeur on “The Earth Won’t Hold Me.” More Bakersfield than Laurel Canyon, and set to walking in 1976 by the one-off Dia imprint in a plain-Jane, black-on-white sleeve, Heideman’s lone LP suffered the geographical misfortune of having ripened in the pre-silicon orchards of San Jose, California, far from more marketable realms—Emmylou’s backyard, say, or Joni Mitchell’s summery lawn. 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Released on the Hookah imprint in 1970, the LP’s gaping cranium cover, sludged-up blues, and bone-bleached riffs outsold \u003cem\u003eLet It Be\u003c\/em\u003e, if only locally, being far “too psychedelic” and skull-crushing for Houston’s International Artists label to touch. A Texas-bound band except in tracking \u003ci\u003eDead Man\u003c\/i\u003e inside the furnace of Phoenix, Josefus strode loud and longhaired amid the oil fields, peddling their own brand of black gold.\u003cbr\u003e\n\u003cbr\u003e\nAs US involvement in the Vietnam War peaked and human boots sunk into lunar dust, Josefus powered across the Texas plains, shaking its coliseums awake as openers for the Grateful Dead and Quicksilver Messenger Service. Heavier by tonnage than both the Stones they cover and “I Want You (She’s So Heavy),” Doug Tull, Pete Bailey, Ray Turner, and Dave Mitchell watched their 17-minute funeral pyre title track burn through statewide airplay, glorying in the evil looseness of the FM format.\u003cbr\u003e\u003cbr\u003e\nRead no further than the replica back cover of our reissue, which sends Josefus “emitting from the darkness of obscurity, bursting forth with the drive and impact of a celestial happening.” A clattering and prescient skeleton of a record—a deceased Zeppelin reanimated by four lost and darkened country boys—\u003ci\u003eDead Man\u003c\/i\u003e truly should be played loud.\u003c\/p\u003e\n","brand":"Numero","offers":[{"title":"LP","offer_id":40261041553606,"sku":"NUM1216lp","price":22.0,"currency_code":"USD","in_stock":false},{"title":"Digital","offer_id":40261041520838,"sku":"NUM1216digital","price":7.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/NUM1216_Josefus_DeadMan_LP_Black.jpg?v=1663262735"},{"product_id":"ned-doheny-separate-oceans","title":"Separate Oceans","description":"\u003cblockquote\u003eNed’s songs could be sung by any great singer, and perhaps best by a soul singer...  A white boy who played that funky music. \u003c\/blockquote\u003e\n\u003cp\u003eWith no less than a mansion, a state beach, and a three-mile stretch of Los Angeles road bearing his surname, Ned Doheny easy-glided into the 1970s on a crest of notoriety. Signposting Ned’s sojourn through the LA recording industry were Jackson Browne, Glenn Frey, Don Henley, Chaka Khan, Graham Nash, “Mama” Cass Elliot, Bonnie Raitt, and David Geffen—each a household name both inside and far from southern California. And while no bust of Ned Doheny appears alongside those of his Laurel Canyon brethren in the pantheon of classic rock, it's not for lack of songwriting abilities or recording chops.\u003cbr\u003e\n\u003cbr\u003e\nOver the last three decades, Doheny’s albums have slid in and out of print on LP and CD, budget jobs without any involvement from the self-described “avatar for casual vulgarity.” \u003cem\u003eSeparate Oceans\u003c\/em\u003e examines Ned Doheny’s first ten years adrift in song, pulling together choice album cuts and 11 previously unissued demos. An 8000 word essay is illustrated by images from the archives of noted rock photographers Henry Diltz, Moshe Brahka, Clive Arrowsmith, and Gary Heery, creating the first ever overview of this unheralded marina rocker.\u003c\/p\u003e\n\n","brand":"Numero","offers":[{"title":"2xLP (Sea Splash Blue Vinyl)","offer_id":42544248848582,"sku":"NUM052lp-C1","price":35.0,"currency_code":"USD","in_stock":true},{"title":"2xLP","offer_id":40261065015494,"sku":"NUM052lp","price":33.0,"currency_code":"USD","in_stock":true},{"title":"CD + Booklet","offer_id":41170452775110,"sku":"NUM052CD","price":20.0,"currency_code":"USD","in_stock":false},{"title":"Digital","offer_id":40261064982726,"sku":"NUM052digital","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/NUM052lp-C1NedDohenySeparateOceansSeaSplashBlueVinyl.png?v=1674148706"},{"product_id":"universal-togetherness-band-universal-togetherness-band","title":"Universal Togetherness Band","description":"\u003cp\u003eBetween 1979 and 1982, The Universal Togetherness Band tracked unearthly portions of their sprawling songbook for bewildered students in Columbia College’s audio engineering program. Storming the gates of Chicago’s premier recording studios, the erudite party band explored permutations of soul, jazz-fusion, new wave, and disco with little regard for studio rates or the availability of magnetic tape.\u003cbr\u003e\n\u003cbr\u003e\n\u003cem\u003eUniversal Togetherness Band\u003c\/em\u003e captures the brightest, never-before-heard moments from this visionary group’s 5-semester recording bender. The attractive LP edition boasts magnificent reproductions of never-before-seen images from the archives of Chicago photographer Steven E. Gross. The CD version features several candid snapshots from the group’s personal collections. Meticulously mixed from the original multi-track sessions by Sean Marquand (Phenomenal Handclap Band), Universal Togetherness Band is presented in peak fidelity.\u003c\/p\u003e\n\n","brand":"Numero","offers":[{"title":"LP","offer_id":40261088084166,"sku":"NUM057LP","price":20.0,"currency_code":"USD","in_stock":false},{"title":"CD","offer_id":40261088018630,"sku":"NUM057CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40261088051398,"sku":"NUM057dig","price":8.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/NUM057_UniversalTogethernessBand_UniversalTogethernessBand_LP_Black.jpg?v=1661276012"},{"product_id":"bedhead-1992-1998","title":"1992-1998","description":"\u003cp\u003eThe complete studio recordings by the Dallas, Texas, slow­core pioneers, every cymbal crash, guitar brush, and whisper, across five LPs or four compact discs. Deluxe box includes \u003cem\u003eWhatFunLifeWas\u003c\/em\u003e, \u003cem\u003eBeheaded\u003c\/em\u003e, \u003cem\u003eTransaction De Novo\u003c\/em\u003e, and an additional CD or double LP overflowing with singles, EPs, and outtakes, alongside a perfect-bound book dissecting the quintet’s nervous slouch through the ’90s. The enclosed 40-page book includes 25,000 word essay, previously unseen photographs, poster reproductions, visual discography, and complete lyrics. Deluxe 5LP box is only available here and limited to 2000 copies. \u003cbr\u003e\n\u003cbr\u003e\n\u003c\/p\u003e\n\n","brand":"Numero","offers":[{"title":"5xLP Box","offer_id":40261134319814,"sku":"NUM1242LP","price":50.0,"currency_code":"USD","in_stock":false},{"title":"4xCD","offer_id":40261134352582,"sku":"NUM1242CD","price":40.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40261134287046,"sku":"NUM1242digital","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/NUM1242_Bedhead_1992-1998_LP_Black_5d849ea1-352b-4b9f-8f89-e4b6d93e7281.jpg?v=1660930081"},{"product_id":"bedhead-whatfunlifewas","title":"WhatFunLifeWas","description":"\u003cp\u003eTheir shambolic 1994 debut, remastered from the original tapes and presented in lavish, gatefold form. A mix of restrained loud and purposeful quiet, \u003cem\u003eWhatFunLifeWas\u003c\/em\u003e’s eleven tracks unfold at a marathon runner’s pace, picking up speed when necessary, but its eye on completing a personal race. Singer Matt Kadane’s soft, semi-drawl is buried in the mix, letting brother Bubba and Tench Coxe’s guitars weave cleanly around drummer Trini Martinez’s all-ride-all-the-time timekeeping. \u003cbr\u003e\n\u003cbr\u003e\n\u003c\/p\u003e\n","brand":"Numero Group","offers":[{"title":"Love Foam Pink Vinyl","offer_id":42773259518150,"sku":"NUM1239LP-C2","price":27.0,"currency_code":"USD","in_stock":true},{"title":"Powder White Vinyl","offer_id":42773260009670,"sku":"NUM1239LP-C1","price":27.0,"currency_code":"USD","in_stock":false},{"title":"Black Vinyl","offer_id":42773259550918,"sku":"NUM1239LP","price":25.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40261165711558,"sku":"NUM1239dig","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/files\/NUM1239LP-C2BedheadWhatFunLifeWas_LoveFoamPinkVinyl.png?v=1691769251"},{"product_id":"bedhead-beheaded","title":"Beheaded","description":"\u003cp\u003eSophomore effort from the Wichita, Texas, slowcore masters. Originally issued in 1996 on King Coffey’s Trance Syndicate label, Beheaded is a dark and brooding affair. The braided, triple guitar attack of brothers Matt and Bubba Kadane and Tench Coxe is more reflective than bracing, each note simultaneously sustaining and building. The rhythm section of drummer Trini Martinez and bassist Kris Wheat breath effortlessly along, anxious only for more space. \u003cbr\u003e\n\u003cbr\u003e\n\u003c\/p\u003e\n","brand":"Numero Group","offers":[{"title":"Bloodheaded Red Vinyl","offer_id":42772822687942,"sku":"NUM1240LP-C2","price":27.0,"currency_code":"USD","in_stock":true},{"title":"Smoke Vinyl","offer_id":41713065033926,"sku":"NUM1240LP-C1","price":27.0,"currency_code":"USD","in_stock":false},{"title":"Black Vinyl","offer_id":41156198170822,"sku":"NUM1240LP","price":25.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40261170462918,"sku":"NUM2140digital","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/files\/NUM1240LP-C2BedheadBedheadedBloodheadedRedVinyl.png?v=1691685590"},{"product_id":"bedhead-transaction-de-novo","title":"Transaction De Novo","description":"\u003cp\u003eTheir third and final album, 1998’s \u003cem\u003eTransaction De Novo\u003c\/em\u003e finds Bedhead destroying the sound it helped forge. No longer concerned with loud and quiet, the quintet uses distortion at its leisure. Tempos increase at will, chasing wave after wave with no break in sight. Desert-dry guitars jangle along, nearly jaunty at times, journeying through songs with no chorus or bridge. Steve Albini’s masterful ear keeps the entire 37 minute affair clean, giving Matt Kadane’s vocals the chance to creep above near-mumble. Thankfully, they never do. \u003c\/p\u003e\n","brand":"Numero","offers":[{"title":"Gold Vinyl","offer_id":41781743812806,"sku":"NUM1241LP-C1","price":20.0,"currency_code":"USD","in_stock":true},{"title":"LP","offer_id":41170484232390,"sku":"NUM1241LP","price":20.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40261184946374,"sku":null,"price":5.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/NUM1241_Bedhead_TransactionDeNovo_LP_Gold.jpg?v=1660848225"},{"product_id":"jeff-cowell-lucky-strikes-and-liquid-gold","title":"Lucky Strikes and Liquid Gold","description":"\u003cp class=\"dropcap\"\u003eTen road-weary tales from the wrong side of outlaw country. Jeff Cowell may have huffed the same narcotic air as Townes Van Zandt and David Allan Coe, but hunkered far from the Nashville city limits, nary a Cash or Paycheck would drunkenly slur through his tunes. Recorded in 1975, \u003cem\u003eLucky Strikes and Liquid Gold\u003c\/em\u003e is an isolated, backwoods loner epic, top-loaded with odes to hitch-hiking and rambling the crumbling Michigan countryside of Cowell’s hard-drinking youth. Previously available only out of the backs of borrowed cars, truck stops, campgrounds, and country-western bars between Algonac, Detroit, East Lansing, Cadillac, and Manistee, this LP now finds new life in similarly detached environs: the last remaining record stores.\u003c\/p\u003e\n","brand":"Numero","offers":[{"title":"LP","offer_id":40261203558598,"sku":"NUM1226LP","price":15.0,"currency_code":"USD","in_stock":false},{"title":"Digital","offer_id":40261203493062,"sku":"NUM1226digital","price":8.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/NUM1226_JeffCowell_LuckyStrikesAndLiquidGold_LP_Black.jpg?v=1660847354"},{"product_id":"universal-togetherness-band-saturday-night-bw-more-than-enough","title":"Saturday Night b\/w More Than Enough","description":"\u003cp\u003eWhile in pursuit of a Radio and TV Broadcasting degree from Chicago State University, Cynthia C. Gibson directed the music video for the Universal Togetherness Band’s “More Than Enough.” Backed with the unreleased party anthem “Saturday Night,” “More Than Enough” is available for the first time in an attractive picture-sleeve 45.\u003c\/p\u003e\n\n","brand":"Numero Group","offers":[{"title":"45","offer_id":40261225513158,"sku":"ES044LP","price":12.0,"currency_code":"USD","in_stock":false},{"title":"Digital","offer_id":40261225480390,"sku":"ES044dig","price":2.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/ES044_UniversalTogethernessBand_SaturdayNight_45_Black.jpg?v=1660761708"},{"product_id":"the-notations-still-here-1967-1973","title":"Still Here: 1967-1973","description":"\u003cp\u003eFrom the dawn of doo-wop to the death of disco, the Notations saw—and sang—it all. Persisting through changing trends and technologies, on major labels and minor ones, produced by both Syl Johnson and Curtis Mayfield, nothing could stop the Notations from representing Chicago’s Southside for decades. The first overview of their indie label golden age, \u003cem\u003eStill Here 1967–1973\u003c\/em\u003e finds the Notations at a musical crossroads, turning from simmering R\u0026amp;B ballads to socially-conscious soul. Offering up a platter of golden-dipped harmonies, inventive arrangements, and super-powered soul, the Notations survived as unheralded legends in their own time.\u003c\/p\u003e\n","brand":"Numero","offers":[{"title":"Red Vinyl Repress","offer_id":41773010157766,"sku":"NUM1232lp-C1","price":27.0,"currency_code":"USD","in_stock":true},{"title":"LP","offer_id":40261245632710,"sku":"NUM1232LP","price":25.0,"currency_code":"USD","in_stock":false},{"title":"CD","offer_id":40261245567174,"sku":"NUM1232CD","price":15.0,"currency_code":"USD","in_stock":false},{"title":"Digital","offer_id":40261245599942,"sku":"NUM1232dig","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/NUM1232_TheNotations_StillHere1967-1973_LP_Red.jpg?v=1660760289"},{"product_id":"universal-togetherness-band-my-sentiment-bw-missing-you","title":"My Sentiment b\/w Missing You","description":"\u003cp\u003eA late entry into the Universal Togetherness Band songbook, “My Sentiment” finds frontman Andre Gibson at the helm of a more refined manifestation of his cult-disco combo. With sweetening from saxophonist Michael Young, “My Sentiment” is as catchy as anything in the Universal Togetherness Band songbook. A perineal opener for the Universal Togetherness Band during their early days, “Missing You So” only existed as legend until a chrome cassette of the song was discovered by harmonica player Paul Hannover.\u003c\/p\u003e\n","brand":"Numero Group","offers":[{"title":"45","offer_id":40261268734150,"sku":"ES052LP","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40261268701382,"sku":"ES052digital","price":2.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/ES052_UniversalTogethernessBand_MySentiment_45_Black.jpg?v=1660675654"},{"product_id":"elyse-weinberg-greasepaint-smile","title":"Greasepaint Smile","description":"\u003cp\u003eThe unreleased second album by an original lady from the canyon. Recorded and recanted in 1969, \u003cem\u003eGreasepaint Smile\u003c\/em\u003e is more assured than its self-titled, Tetragrammaton-issued predecessor. Weinberg’s finger-picked acoustic is layered over distant drumming, while her gravel-pit voice evokes life, love, and mortality. Fellow Torontonian Neil Young sears “Houses” with his signature fuzz-tone, casting chaos over the beautiful ballad, while J.D. Souther, Kenny Edwards, and Nils Lofgren, pick up the slack. Masterfully produced by David Briggs, \u003cem\u003eGreasepaint Smile\u003c\/em\u003e has climbed out of the canyon and is bound for every turntable east of the 405.\u003c\/p\u003e\n\n","brand":"Numerophon","offers":[{"title":"LP","offer_id":40261276106950,"sku":"NPH44008LP","price":23.0,"currency_code":"USD","in_stock":false},{"title":"CD","offer_id":41156200956102,"sku":"NPH44008CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40261276074182,"sku":"NPH44008dig1","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/NPH44008_ElyseWeinberg_GreasepaintSmile_LP_Black.jpg?v=1660673891"},{"product_id":"bedhead-live-1998","title":"Live 1998","description":"\u003cp\u003eCaptured during their \u003cem\u003eTransaction de Novo\u003c\/em\u003e tour, Bedhead’s Live In Chicago finds the group upon the fabled stage of the Empty Bottle. For their April 16th, 1998 performance, recording engineer Bob Weston set up in the facility’s basement, tracking the entire performance onto a mobile 16-track ADAT unit. Mixed by the band and mastered at Chicago Mastering Service, these previously unreleased sessions celebrate the band’s live show in ultra-high fidelity. \u003c\/p\u003e\n","brand":"Numero","offers":[{"title":"CD","offer_id":40261288067270,"sku":"NUM1238CD","price":12.0,"currency_code":"USD","in_stock":false},{"title":"Digital","offer_id":40261288100038,"sku":"NUM1238dig","price":9.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/Num1238_Bedhead_Live1998_CD.jpg?v=1660673316"},{"product_id":"ned-doheny-to-prove-my-love-bw-vocal-version","title":"To Prove My Love b\/w Vocal Version","description":"\u003cp\u003eIn anticipation of Ned Doheny’s March 2015 tour of the UK, we pressed up a limited pic sleeve 45 of the cut that first made Ned famous across the pond. For reasons not entirely clear, the infectious \u003cem\u003eProne\u003c\/em\u003e opener “To Prove My Love” debuted in 1979 on the Japanese-only LP with its verses omitted. This “TV Track,” as such items were known, was provided by engineers to facilitate televised performances or opportunities for voiceovers. Whether utilized by mistake or by preference, Ned Doheny’s third and final album of the ’70s has spent the last three decades with a piece missing. In various compact disc reissues from various land masses, the TV Track and Vocal versions have been used interchangeably with no distinction. This 45 exists to give the listener control over which “To Prove My Love” they can remain faithful to.\u003c\/p\u003e\n","brand":"Numero","offers":[{"title":"45","offer_id":40261300388038,"sku":"NUM052.75LP","price":12.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/NUM052_75_NedDoheny_ToProveMyLove_45_Black.jpg?v=1659553141"},{"product_id":"royal-jesters-english-oldies","title":"English Oldies","description":"\u003cp\u003eThe first ever compilation from the Alamo City’s scrappiest souleros. The Royal Jesters were the kings of San Antonio's cross-cultural teen scene in the 1960s, soundtracking lovelorn slow dances and sock hop twists alike. Clocking in at a whopping 28 songs, \u003cem\u003eEnglish Oldies\u003c\/em\u003e compiles their singles for Abe Epstein’s Cobra and Jox labels, self released output on their own Jester and Clown imprints, and adds solo offerings from vocalists Joe Jama and Dimas Garza. This single CD or double LP showcases the best early doo-wop, R\u0026amp;B, and blazing Latin rock and soul from these Tex-Mex masterminds—a simmering melting pot of diverse regional flavors, best served hot. The group’s nearly 20-year career is captured in stunning period photos and in-depth liner notes, the perfect epitaph to the pompadoured and besuited sextet who once sang in a borrowed broken-hearted harmony.\u003cbr\u003e\n\u003c\/p\u003e\n\n","brand":"Numero","offers":[{"title":"2xLP","offer_id":40261343772870,"sku":"NUM062LP","price":28.0,"currency_code":"USD","in_stock":false},{"title":"CD","offer_id":40261343707334,"sku":"NUM062CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40261343740102,"sku":"NUM062digital","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/NUM062_RoyalJesters_EnglishOldies_LP_Black.jpg?v=1659466793"},{"product_id":"can-you-feel-that-beat-funk-45s-and-other-rare-grooves","title":"Funk 45s and Other Rare Grooves","description":"\u003cp class=\"dropcap\"\u003eSo what is funk? It’s sometimes difficult to know.  In the 1950s, the piano style of both Ray Charles and Horace Silver were described as funk, and the word itself has long associations with black music, going back even further into history. Clearly the success of James Brown at the tail end of the 1960s—say from “Cold Sweat” onwards—established the funk era, but the Godfather of super-heavy funk had already set out his stall with “Papa’s Got A Brand New Bag” and “I Got You (I Feel Good)” in 1965. At the same time a series of productions he recorded with Bobby Byrd, James Crawford, and others saw him slowly perfect his groove.  \u003cbr\u003e\n\u003cbr\u003e\nBut he wasn’t working in a vacuum. In Memphis the studio group at Stax were creating a rhythmic template full of the funk—listen to Otis Redding’s “Sick Y’All” on the flip of “Try A Little Tenderness” or Rufus Thomas’ breakbeat friendly “Sophisticated Sissy” and there is no denying it. Whilst in Phoenix, Arizona, Arlester “Dyke” Christian and his Blazers proclaimed the word to the world when they hit with “Funky Broadway.” \u003c\/p\u003e\n\u003cp\u003eAll of these sources were influential, and by the end of the sixties every high school band was turning out covers of the biggest funk hits, whilst in towns across the US groups were forming using the instrumental template of the MG’s or the Meters—bass, drums, guitar and organ—to make their own creations. Established artists and record labels picked up on the trend also, adding the syncopated groove to their R\u0026amp;B to keep it contemporary. It was a glorious period which in today’s world is mined by collectors, DJs looking to fill a dance floor, and record producers looking for the perfect beat. This compilation reflects all of those different directions as we delve into the world of high quality and often super rare recordings that fill this release. \u003cbr\u003e\n\u003cbr\u003e\nWe open up with a slew of records that are in themselves dance floor classics. \u003ca href=\"http:\/\/dev.numerogroup.com\/products\/mickey-the-soul-generation-iron-leg-the-complete-mickey-the-soul-generation\"\u003eMickey \u0026amp; the Soul Generation\u003c\/a\u003e’s “Iron Leg”—an organ-based instrumental with a ferocious opening—was a rare groove that became one of the foundation stones for the acid jazz scene in the UK. Renaldo Domino’s “Let Me Come Within” is a later discovery. One of the Chicago based singer’s singles for Twinight—he also recorded for Smash and Blue Rock —it is unashamedly aimed for the floor. Sandy Gaye’s “Watch The Dog” is one of several songs that go by that name, none of them quite match this Richard Marx penned masterpiece. It was one of Gaye’s two shots at stardom, and although it didn’t reach, it is a worthy calling card. A similar point could be made about the Soul President’s “Get It Right,” one of Detroit’s finest funk records made for Ed McCoy’s \u003ca href=\"http:\/\/dev.numerogroup.com\/products\/eccentric-soul-the-big-mack-label\"\u003eBig Mack\u003c\/a\u003e label.  \u003c\/p\u003e\n\u003cp\u003eIn Miami, Clarence Reid and Little Beaver would find success in the 1970s as part of Henry Stone’s TK organization, which melded funk and early disco to world beating effect. Whilst they figured out how to reach the top, they made some stunning records on Saadia, \u003ca href=\"http:\/\/dev.numerogroup.com\/products\/eccentric-soul-the-deep-city-label\"\u003eDeep City\u003c\/a\u003e, and a host of other labels. Our two pieces of Miami funk are both from the former label. Robert Moore went on to success with the group Miami, but his take “Everything’s Gonna Be Alright” may be his best record. Powell Dowdell takes on “Good Things” and funks up what was originally a hot slice of R\u0026amp;B by Frank Williams. Although not related to the mainstream of Floridian ’70s music, “Party Time” by Black Soul Express shows the confidence of the Sunshine state’s music scene in that decade.  \u003cbr\u003e\n\u003cbr\u003e\nThe midwestern hub for the music industry was Chicago. Home to major label distribution, Chess, Vee-Jay, and a host of smaller outfits, it had been known as an outlet for the blues, but where black music was concerned always kept itself up to date. “The Devastator” by Stormy is cutting edge for its 1967 release, and Joyce Williams “First Thing I Do In The Morning,” recorded for Richard Pegue’s \u003ca href=\"http:\/\/dev.numerogroup.com\/products\/eccentric-soul-the-nickel-penny-labels\"\u003eNickel\u003c\/a\u003e label is suitably sensuous. Andrew Brown’s “You Made Me Suffer” is blues in form, but funky as hell in reality. One of the ultimate collector’s pieces.  \u003c\/p\u003e\n\u003cp\u003eAlso from Chicago were \u003ca href=\"http:\/\/dev.numerogroup.com\/products\/boscoe-boscoe\"\u003eBoscoe\u003c\/a\u003e, whose independently pressed album on Kingdom Of Chad mixed black power, Egyptology, and other powerful influences to create a potent and enticing brew. In a similar vein are \u003ca href=\"http:\/\/dev.numerogroup.com\/products\/24-carat-black-gone-the-promises-of-yesterday\"\u003e24-Carat Black\u003c\/a\u003e. Their debut album, \u003cem\u003eGhetto: Misfortune’s Wealth\u003c\/em\u003e was issued on Stax’s Enterprise label and was gobbled up by sample hungry producers. It’s equally excellent follow up languished for 35 years before being unleashed, including a sublime take on the Mad Lad’s “Gone! The Promises Of Yesterday.”  \u003cbr\u003e\n\u003cbr\u003e\nOver on the west coast, “Gimme Little Sign” hit-maker Brenton Wood put together a local super-group—featuring the exceptional Gail Anderson on vocals—to demo his latest composition “Strike.” Naming the band Union, the 197_single was released on Matt Hill’s Mesa label. This was part of a small empire that Hill had put together largely focused on managing his brother, bluesy soul singer Z.Z.\u003c\/p\u003e\n\u003cp\u003eBy the early ’70s, great funk records were being made all over the U.S. It could be the \u003ca href=\"http:\/\/dev.numerogroup.com\/products\/the-young-senators-ringing-bells-sweet-music-part-1-bw-part-2\"\u003eYoung Senators\u003c\/a\u003e recording in Washington DC for Innovations, or We The People in Phoenix working with the always-on-the- pulse Mighty Mike Lenaburg. It could be in the deep south, such as Louisiana-based guitarist and bandleader Clifton White who made a handful of great singles with his group the Royal Knights for ANLA and the brilliant “The Grade A” for PMRC, before giving up the funk for a career playing Zydeco.  \u003cbr\u003e\n\u003cbr\u003e\nOur numbers are completed by the excellent Young Disciples from St Louis and their rare groove classic “Crumbs From The Table,” and obscure and hard to find recordings by Creations Unlimited, Black Sunshine, and Duracha filling out that definition of funk. So to answer that original question, all you have to do is give a spin to the music in this package, then repeat. You may not know the answer, but you will certainly feel it.\u003c\/p\u003e\n","brand":"Other","offers":[{"title":"2xLP","offer_id":40261715525830,"sku":"JD002lp","price":25.0,"currency_code":"USD","in_stock":false},{"title":"CD","offer_id":40261715460294,"sku":"JD002cd","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40261715493062,"sku":"J\u0026D002dig","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/JD002_YouCanFeelThatBeat_Funk45sAndOtherRareGrooves_LP_Black.jpg?v=1658426877"},{"product_id":"southwest-side-story-vol-19","title":"Vol. 19","description":"\u003cp\u003eThere are hundreds of bootlegs out there to sate the ravenous soulero set, and so often they incorporate songs in the vast Numero catalog. Rather than beat them, Numero joins them with our answer to the iconic \u003cem\u003eEast Side Story\u003c\/em\u003e series. Eschewing our classic look and standard-bearing copious notes for sardonic artwork and impeccable selections, Numbero is proud to present a ‘bootleg’ you can be proud of (because it’s all licensed). This time we’ve set our sights on the most unique of soul cultures: the irreplicable melting pot of San Antonio. Included here are all songs never before issued other than in minuscule pressings on 45, never distributed outside of Bexar County limits.\u003cbr\u003e\n\u003cbr\u003e\nThe \u003cem\u003eSouthwest Side Story\u003c\/em\u003e rolas are obscure everywhere in the United States while eliciting intense nostalgia on the South and West Sides of San Antonio to this day. This could be a greatest hits of DJs like Henry Pena, who began his rein in the ’60s and continues it today with many of these same selections. Including such local luminaries as the Royal Jesters, Sonny Ace, the Dreamliners, Al Castana, Dino Bazan \u0026amp; the Dell Tones, George Jay \u0026amp; the Rockin’ Ravens, the Eptones, the Volumes, and Henry Pena, who never fully disappeared from view in the Alamo City.\u003c\/p\u003e\n","brand":"Numbero","offers":[{"title":"LP (Tri-Color)","offer_id":40261780078790,"sku":"NBR008lp-C1","price":25.0,"currency_code":"USD","in_stock":false},{"title":"Digital","offer_id":40261780013254,"sku":"NBR008dig1","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/NBR008_SouthsideStory_Vol19_LP_TriColor.jpg?v=1658254147"},{"product_id":"hsker-d-savage-young-d","title":"Savage Young Dü","description":"\u003cp\u003eExperience the punishing sonic origins of a punk icon. Collected here for the first time, and skillfully remastered from original board tapes, demos, and session masters, this collection is an authoritative chronicling of the wellspring and maturation of Grant Hart, Greg Norton and Bob Mould—three St. Paul teenagers who’d go on to become the most heralded trio of the American punk underground. Follow the Hüskers to their earliest gigs in 1979, through extensive road dog touring, and to the start of their partnership with West Coast tastemaker SST in 1983 via a 108-page hardbound book crammed full of photos, flyers, and a sprawling essay with participation from the band. Spread across four LPs, 47 of the 69 songs compiled here are previously unissued, and includes \u003cem\u003eIn A Free Land\u003c\/em\u003e, \u003cem\u003eEverything Falls Apart\u003c\/em\u003e, and an alternate \u003cem\u003eLand Speed Record\u003c\/em\u003e.\u003c\/p\u003e\n\n\n","brand":"Numero","offers":[{"title":"4xLP (Black Vinyl) + Book  + 7in (Colored Vinyl Version)","offer_id":40261888213190,"sku":"NUM200LP-C1bn","price":120.0,"currency_code":"USD","in_stock":false},{"title":"4xLP + Book","offer_id":40261888049350,"sku":"NUM200LP","price":100.0,"currency_code":"USD","in_stock":false},{"title":"3CD + Book","offer_id":40261888082118,"sku":"NUM200CD","price":21.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/NUM200_HuskerDu_SavageYoungDu_LP_Black_7in_6f84805b-832c-4eea-b18d-de3d844c5521.jpg?v=1657929241"},{"product_id":"laraaji-vision-songs-vol-1","title":"Vision Songs Vol. 1","description":"\u003cp\u003e\u003cem\u003eVision Songs Vol. 1\u003c\/em\u003e is the Laraaji album like no other, located at the intersection of new age and gospel, his outlier and magnum opus, the feel-good DIY tape of the century. Casio synth jams recorded at spiritual retreat guest rooms and a tiny bedroom on the Upper West Side in 1984, lysergically-spectacular anthems for a continually arriving new moment. “Channeled from the sky,” humbly offered on vinyl for the first time, this is where this is going on, this is where this is taking place, this is how this is going on. Is this very clear? --- \u003cem\u003edigital track list includes 7 bonus recordings (included with vinyl purchase)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eNew Cosmic Joe Orange Vinyl!\u003c\/em\u003e\u003c\/p\u003e","brand":"Numero","offers":[{"title":"Cosmic Joe Orange Vinyl","offer_id":43187007881414,"sku":"NUM079lp-C2","price":27.0,"currency_code":"USD","in_stock":true},{"title":"Black LP","offer_id":40261914362054,"sku":"NUM079LP","price":25.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":43682536751302,"sku":"NUM079CD","price":15.0,"currency_code":"USD","in_stock":false},{"title":"Digital","offer_id":40261914329286,"sku":"NUM079dig","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/files\/NUM079lp-C2LaraajiVisionSongs_2023Repress_CosmicJoeOrangeVinyl.png?v=1708725428"},{"product_id":"pastor-tl-barrett-the-youth-for-christ-choir-like-a-ship","title":"Like A Ship...","description":"\u003cp class=\"dropcap\"\u003eRecorded in 1971 by a 27-year-old pastor and an after school program choir, \u003ci\u003eLike A Ship\u003c\/i\u003e is a stirring and powerful meditation on the wayward aftermath of the Civil Rights Movement. Tracked with the help of Chess\/Cadet maestros Gene Barge, Phil Upchurch, and Richard Evans, the album is a mix of euphoric gospel and Mayfield-esque politcal soul, with sleigh bells, hand claps, and jazzy piano stabs. Sampled by T.I., Kanye, and Khalid, Barrett created a rapturous, crossover gospel classic that's still wildly relevant.\u003c\/p\u003e\n","brand":"Numero","offers":[{"title":"LP (Joyful Medley Splatter Vinyl)","offer_id":43201503789254,"sku":"NUM1271lp-C4","price":27.0,"currency_code":"USD","in_stock":true},{"title":"LP (Ice Wind Transparent Vinyl)","offer_id":42300035039430,"sku":"NUM1271lp-C3","price":27.0,"currency_code":"USD","in_stock":true},{"title":"LP (Clear with Black Splatter)","offer_id":40261922390214,"sku":"NUM1271lp-C2","price":27.0,"currency_code":"USD","in_stock":false},{"title":"LP","offer_id":40261922357446,"sku":"NUM1271LP","price":25.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40261922324678,"sku":"NUM1271dig1","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/files\/NUM1271lp-C4.png?v=1709159562"},{"product_id":"w2ng-899fm","title":"89.9FM","description":"\u003cp\u003eIn the wake of 2017’s \u003cem\u003eSeafaring Strangers: Private Yacht\u003c\/em\u003e, Numero is proud to present another addition to the soft rock canon: \u003cem\u003eW2NG\u003c\/em\u003e. Set your FM dial to smooth and sail away with 42 minutes of uninterrupted easy glide, pontoon rock, and whispery disco. Featuring unreleased burners from Gary Hyde, Love Transfusion, Marshall Titus, and Phillips, alongside scarce cuts from Nannette, Greenflow, Jim Spencer \u0026amp; Son Rize, Larry Sanders, Kettner \u0026amp; Shawe, Orphans of Love, and Lion, \u003cem\u003eW2NG\u003c\/em\u003e is sure to surprise even the most devout boat shoe enthusiast.\u003c\/p\u003e\n","brand":"Numbero","offers":[{"title":"LP","offer_id":40261937692870,"sku":"NBR009LP-C1","price":20.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40261937660102,"sku":"NBR002digital","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/NBR009_W2NG_899FM_LP_Blue.jpg?v=1657909191"},{"product_id":"pastor-tl-barrett-the-youth-for-christ-choir-do-not-pass-me-by-vol-ii","title":"Do Not Pass Me By Vol. II","description":"\u003cp\u003eThe sequel to Pastor Barrett’s landmark 1971 masterpiece \u003cem\u003eLike A Ship…\u003c\/em\u003e, \u003cem\u003eDo Not Pass Me By\u003c\/em\u003e finds the young Chicago preacher and his Youth for Christ Choir continuing their genre-bending spiritual journey. Heavy drums, soaring falsettos, euphoric tambourines, sharp horns, and Barrett’s unwavering devotion dance around a 40-strong choir, working together to form sanctified slab of gospel funk. Pressed in a minuscule quantity in 1973, \u003cem\u003eDo Not Pass Me By\u003c\/em\u003e was sold primarily from the pulpit of Barrett’s Mt. Zion Baptist Church, disappearing into Chicago’s south side for 45 years before Numero’s excavation. The ten-song album has been remastered, it’s generic album cover updated to match Barrett’s vision. On the back of the jacket, he insisted on the following words: “After listening to this album you will be glad that you did not pass it by!”\u003c\/p\u003e\n","brand":"Numero","offers":[{"title":"LP (Silver Vinyl)","offer_id":40262029934790,"sku":"NUM1270LP-C1","price":30.0,"currency_code":"USD","in_stock":false},{"title":"LP","offer_id":40262029902022,"sku":"NUM1270LP","price":25.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":40262029836486,"sku":"NUM1270CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40262029869254,"sku":"NUM1270dig","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/NUM1270_PastorTLBarrett_DoNotPassMeBy_VolII_LP_Silver.jpg?v=1657906333"},{"product_id":"eccentric-soul-the-cash-label","title":"The Cash Label","description":"\u003cp\u003eFrom the most affordable studio on Chicago’s west side comes a document of unknown and remarkably eccentric soul music, all produced in late-night sessions after day jobs and family dinners had ended. With little more than a Hammond organ, a piano, and a two-track tape machine, Gene Cash's one-room enterprise quickly became a destination for local gospel and R\u0026amp;B groups looking to cut a record for pennies on the dollar. Beginning in 1967, Cash issued hundreds of singles on his Cash, Coin, Jade, and C.R.A. labels, all obscurities from the moment they fell off the press. Featuring otherwise unrecorded artists Iron Jaw Harris, Skip Drake, Soul Revival, and the brilliantly named Harlem Meat Company, alongside Chicago soul luminaries the Notations and Harrison \u0026amp; the Majestic Kind, \u003cem\u003eEccentric Soul: The Cash Label\u003c\/em\u003e is a vital testimony for a scene that blinked once and then disappeared into the wind. \u003c\/p\u003e","brand":"Numero","offers":[{"title":"LP","offer_id":41156170875078,"sku":"NUM1259lp","price":20.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":40262060638406,"sku":"NUM1259CD","price":12.0,"currency_code":"USD","in_stock":false},{"title":"Digital","offer_id":40262060671174,"sku":"NUM1259dig1","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/NUM1259_EccentricSoul_TheCashLabel_LP_Black.jpg?v=1657756941"},{"product_id":"eccentric-soul-the-saru-label","title":"The Saru Label","description":"\u003cp\u003eThe 20th volume of our flagship \u003cem\u003eEccentric Soul\u003c\/em\u003e series has all the boxes checked: Gun-toting, skip-tracing record producers, child stars, rip-offs, the “World’s Greatest Bail Bondsman,” swindles, soaring falsettos, and a dwindling rust-belt cityscape offering mere glimpses of hope before the record industry escaped for the coasts. Helmed by the O’Jays Bobby Massey, Saru was a creative vortex that pulled Cuyahoga County’s greatest talent in, making a strong case for Cleveland to contend with Detroit, Philly, and Memphis as America’s soul music’s capital. Deluxe compact disc or double album includes 25 obscure and unknown sides from the Out of Sights, the Elements, Pandella Kelly, David Peoples, Sir Stanley, the Ponderosa Twins + 1, Ba-Roz, Bobby Dukes, and of course, the O’Jays.\u003c\/p\u003e\n","brand":"Numero","offers":[{"title":"2xLP","offer_id":40262077546694,"sku":"NUM071LP","price":27.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":40262077481158,"sku":"NUM071CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40262077513926,"sku":"NUM071dig1","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/NUM071_EccentricSoul_TheSaruLabel_LP_Black.jpg?v=1657755137"},{"product_id":"ned-doheny-the-darkness-beyond-the-fire","title":"The Darkness Beyond The Fire","description":"\u003cp\u003eSomewhere in the early 1990s the world as Ned Doheny knew it ceased to exist. His wife walked out, plans with his son were relegated to the weekends, and his contract with Japan’s Polystar label demanded a new album. Demos were issued as finished product, leaving a poor taste in Doheny’s mouth. “In the years following my divorce I had an opportunity to explore the underlying causes for my misadventures and these songs took on new meaning for me,” Doheny said. Rerecorded as a complete body of work, \u003cem\u003eDarkness Beyond The Fire\u003c\/em\u003e is Ned Doheny’s fourth album, self released on his own Tres Rosas label in 2010. \u003c\/p\u003e\n","brand":"Other","offers":[{"title":"CD","offer_id":40262163202246,"sku":"ND1001CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40262163235014,"sku":"NUMORP016dig","price":7.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/NUM1001_NedDoheny_TheDarknessBeyondTheFire_CD.jpg?v=1657747632"},{"product_id":"don-slepian-sea-of-bliss","title":"Sea Of Bliss","description":"\u003cp\u003eFrom 1970s Hawaii on to modern day New Jersey, Don Slepian has enjoyed a reputation as one of new age’s most respected and technologically-advanced synthesists. Slepian’s 1980 landmark \u003cem\u003eSea of Bliss\u003c\/em\u003e is frequently cited as one of new age’s greatest albums, and is one of the genre’s most legendary tape-only recordings. Two side-length Alles synthesizer tracks transport listeners to personal paradises for relaxation, rest, focus and reset on vinyl for the first time, only on Numero Group. \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003ePair with the Tee Of Bliss Shirt and get 25% off both in your cart when picking up the record and shirt together.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/numerogroup.com\/products\/sea-of-bliss-t-shirt?variant=42810220609734\"\u003e\u003cimg height=\"488\" width=\"488\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/files\/NUM806-T01DonSlepianT-Shirt_White_1fa18b5e-66b4-4f98-ad58-965e58ea5694.png?v=1712325218\" alt=\"\"\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Numero","offers":[{"title":"Deep Blue Vinyl","offer_id":42633927884998,"sku":"NUM806lp-C1","price":27.0,"currency_code":"USD","in_stock":true},{"title":"Black Vinyl","offer_id":40262197575878,"sku":"NUM806LP","price":25.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40262197543110,"sku":"NUM806dig","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/NUM806lpDonSlepianSeaOfBlissDeepBlueVinyl.png?v=1679093294"},{"product_id":"blondie-heart-of-glass","title":"Heart Of Glass","description":"\u003cp\u003eThe song that burst Blondie out of the streets of the Bowery to #1 on the charts, “Heart of Glass” was the pivotal moment in punk’s choreographed slamdance with the mainstream. Inspired by Kraftwerk and Giorgio Moroder, Blondie transformed their campy “Once I Had A Love” into a Roland-driven juggernaut and never looked back. Explored and exploded via six distinct versions remastered from the original analog tapes, the history of “Heart of Glass” is documented here in a copious essay and packaged in gorgeous screened and die cut sleeve. \u003c\/p\u003e\n","brand":"Numero","offers":[{"title":"Digital","offer_id":40262387204294,"sku":"NUM1267digital","price":6.0,"currency_code":"USD","in_stock":true},{"title":"12in","offer_id":42702076149958,"sku":"NUM1267LP","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/NUM1267_Blondie_HeartOfGlass_LP_Black_02.jpg?v=1657306931"},{"product_id":"antena-camino-del-sol-mini-lp","title":"Camino Del Sol (Mini LP)","description":"\u003cp class=\"dropcap\"\u003eNineteen Eighty-Two, Brussels: Living on busking wages and next door to Tuxedomoon, Antena manage to make a contemporary bossanova record that provides the missing link between Antonio Carlos Jobim and Kraftwerk. The original \u003cem\u003eCamino Del Sol\u003c\/em\u003e has been given back its spacious mini-LP quarters, recasting this short-lived combo’s forward-thinking mile marker as a modern-day masterstroke.\u003cbr\u003e\n\u003cbr\u003e\nThough titled to suggest that its thoughts concerned the path of our closest star, the five-track 12\" was a musical move toward the western hemisphere’s tropics. “Achilles” invokes myth to remind a mother about her invincible warrior child; the track’s shouting Latin intro and coda border a staunchly electro main text. “Bye Bye Papaye” beats Sade to the sounds that brought her to the pop charts, while “Sissexa” takes a bass-and-guitar jaunt to Carnaval.  And if “Silly Things” lounges in Brazil, with hand percussion, brass, and whispered vocal, then the gorgeous title track (a “desperate vacation,” according to Isabelle) departs for a lush American beach resort complete with bird song and an icy synth midsection. 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