{"title":"Spring 2024","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. 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Connecticut’s Tweeds, New York’s Sponsors, San Antonio’s Kids, and Kennet, Missouri’s Trend also get in on the action, proving that garage bands weren’t dead, they just grew up and bought keyboards. This stripped-down, well-dressed 2LP set comes with a poly-bagged set of 11 inserts. 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Consider it the perfect companion for your next seeds-and-stems separation marathon or transcendental meditation retreat.\u003c\/p\u003e\n","brand":"Numero","offers":[{"title":"CD","offer_id":40259779068102,"sku":"NUM018cd","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40259779100870,"sku":"NUM018dig1","price":10.0,"currency_code":"USD","in_stock":true},{"title":"2xLP","offer_id":40259779133638,"sku":"NUM018lp","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/atom-1538756220_f9fd89e0-9f44-458b-91de-40e533868c72.jpg?v=1626880345"},{"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. 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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":"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. 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Following successive explosions of brown-eyed and Latin soul in Los Angeles and New York during the mid and late ’60s, Lorain’s Boricua underdogs went on a trial-by-fire recording tear in nearby Cleveland, going all-in on a series of no-budget recordings at Way Out and with Lou Ragland at Boddie Recording Company. Boasting a voice that rivaled any on the Fania roster, Willie Marquez led the rotating cast of Latino teens through numerous underfunded recording sessions for the Day-Wood, Beth, and Lorain Sounds imprints, the lo-fi fruits of which are compiled here. Reaching back to Los Nombres’ most glorious and fearless era, these moments of off-the-cuff clarity feature an uncompromising assemblage of searing brass, molten organ, and crystalline nuggets of chili-powdered songwriting that could only have come from Ohio’s “International City.”\u003c\/p\u003e\n","brand":"Numero","offers":[{"title":"LP","offer_id":40260834328774,"sku":"NUM5009lp","price":15.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":40260834263238,"sku":"NUM5009cd","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40260834296006,"sku":"NUM5009digital","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/atom-1539016806_eb082cee-2135-44b5-a224-d54a82ed10a7.jpg?v=1626880452"},{"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. 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After several years, and as many surgeries, he would break ground on this psychedelic pastiche of Latin jazz and pan-American funk, recorded in his nation’s capital in 1976. The binary stars of the sessions would be the agile Lovo and percussionist Jose “Chepito” Areas, whose timbale work can be heard on watershed records by Carlos Santana, including the Latin-rock milestone, “Oye Como Va.” Lovo’s unreleased masterpiece, combining the talents of Nicaragua’s most notorious players, recalls at once the spiritual funkiness of Herbie Hancock’s Mwandishi, the studio trickology of Lee “Scratch” Perry, and the dense propulsion of Billy Cobham’s Spectrum. Fusion begets confusion, as hand-plucked guitar melodies tumble into synthesizer meltdowns with wasted grace. 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Who knows how to do “The Hen”?\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Numero Group","offers":[{"title":"Tear Drops Blue Color Vinyl (2xLP)","offer_id":42972031189190,"sku":"NUM047lp-C1","price":35.0,"currency_code":"USD","in_stock":true},{"title":"Black Vinyl (2xLP)","offer_id":40260948951238,"sku":"NUM047lp","price":33.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":40260948885702,"sku":"NUM047cd","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40260948918470,"sku":"NUM047dig1","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/files\/NUM047lp-C1V_ATheForteLabel_TearDropsBlueColorVinyl2xLP.png?v=1701301427"},{"product_id":"king-bullard-version-songs-of-the-bos-label","title":"Songs of the BOS Label","description":"\u003cp\u003eOn Cleveland’s late ’60s gospel scene, the BOS label was the refined, professional ying to \u003ca href=\"http:\/\/dev.numerogroup.com\/products\/boddie-recording-company-cleveland-ohio\"\u003eBoddie\u003c\/a\u003e’s lo-fi yang, galloping to the fore bearing a torch for Curtis Mayfield’s robe-wearing roots. 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While the label is best known for supplying the infectious horn sample in the Beastie Boys’ \"Brass Monkey,\" there were a handful of other amazing T.S.O.B. 12\" singles that somehow blew by the ears of Mike D and company. “Man For My Lady” was a semi-custom offering by Sabata, an alias for legendary R\u0026amp;B producer George Kerr. The track is boogie to the B, replete with electro keys and enough 808 to get even the most stapled of wall flowers to bend a knee. 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In relative silence, the Twin Cities had been harboring a tight-knit community feverishly at work in radically manipulating American dance music, varnishing futurist funk with guitar rock’s glamorous sheen. \u003cbr\u003e \u003cbr\u003e \u003cem\u003ePurple Snow\u003c\/em\u003e, the Numero Group’s ambitious 50th mainline release, chronicles false starts and follow-throughs toward Minneapolis Sound, on four LPs or two CDs and 32 rare and unreleased recordings from the years just prior to, and just after, one gifted Nelson was crowned Prince. At some 30,000 words, our 144-page hardbound book meticulously directs the listener through two hours of music, and a decade dotted by adept producers, combos, and characters—like 94 East, Flyte Tyme, and Alexander O’Neal, whose less celebrated groundwork put Minneapolis’ purple launchpad on the map. From Jimmy Jam’s extroverted Mind \u0026amp; Matter collective to André Cymone’s polish-free bedroom demos, \u003cem\u003ePurple Snow\u003c\/em\u003e gathers as the sprawling, nonfiction prequel to \u003cem\u003ePurple Rain\u003c\/em\u003e’s cultural takeover. In image-rich splendor, funk-informed hordes of unsung Twin Cities talent bask for a spotlit moment, out of that persistent violet shadow, to shine.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBonus: 20% off when grabbing 3 or more Minneapolis Records - discount applied in cart automatically.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCurrently In-Stock Minneapolis Records:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/numerogroup.com\/products\/94-east-the-cookhouse-5\"\u003e94 East - The Cookhouse 5 LP\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/numerogroup.com\/products\/mind-matter-1514-oliver-avenue-basement\" target=\"_blank\"\u003eMind \u0026amp; Matter: 1514 Oliver Avenue (Basement) LP\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/numerogroup.com\/products\/youre-everything-b-w-youre-all-i-need\" target=\"_blank\"\u003eMichael Dixon \u0026amp; J.O.Y. - You're Everything 7\"\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/numerogroup.com\/products\/keep-your-faith-in-god-b-w-just-give-it-all-to-christ\" target=\"_blank\"\u003eLucky Rosenbloom - Keep Your Faith In Good 7\"\u003c\/a\u003e\u003c\/p\u003e","brand":"Numero","offers":[{"title":"4xLP Lavender Vinyl + Book","offer_id":43147502223558,"sku":"NUM050lp-C1","price":100.0,"currency_code":"USD","in_stock":true},{"title":"4xLP Purple Snow Vinyl + Book","offer_id":43147505008838,"sku":"NUM050lp-C2","price":100.0,"currency_code":"USD","in_stock":true},{"title":"4xLP + Book","offer_id":40261019893958,"sku":"NUM050lp","price":90.0,"currency_code":"USD","in_stock":false},{"title":"2xCD + Book","offer_id":41175976444102,"sku":"NUM050cd","price":25.0,"currency_code":"USD","in_stock":false},{"title":"Digital","offer_id":40261019828422,"sku":"NUM050digital","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/files\/NUM050lp-C2PurpleSnowLavenderVinylMockup.png?v=1707247006"},{"product_id":"south-side-story-vol-23","title":"Vol. 23","description":"\u003cp\u003eFor the lowriders, the souleros, and for any armchair drag racer who still has a record player within reach, \u003cem\u003eSouth Side Story\u003c\/em\u003e pays tribute to the aftermarket sounds of soul music, inspired by the record industry’s metric trunkload of cruising compilations, legitimate and otherwise, that soundtracked an entire subculture. 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Her melding of classical music influences with synthesizer and acoustic guitar, and her enchanting and idiosyncratic singing, are favorably compared to heralded English chanteuse Kate Bush. Fans of such artistic pop music would be remiss to overlook Rhodes’s similarly remarkable and otherworldly sonic transmissions, traversing tales of dreamers, outsiders, lovers and other lovely and terrifying creatures born of a wellspring of wild creativity and bold imagination. Affectionately remastered from the original tapes, Ectotrophia gathers essential songs from Rhodes’s mid-’80s salad days, many written when she was just a teenager—wildly ahead of her time and unafraid to bare her soul to regional audiences, the ectophiles who’d eventually coin an entire subgenre of pop music in her honor. 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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":"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. Isabelle’s voice whispers a tale-by-listing of jetlagged lovers at the pool, taking drinks and tennis and parking the Jaguar; “Camino Del Sol” marks the band’s first defining moment. \u003cbr\u003e\n\u003cbr\u003e\nA still-life of sunlit domestic emptiness fully captures the Antena aesthetic, hinting at a mysterious trio who sat together only long enough to sip at fruited cocktails before hearing Europe’s mechanized pop signals on the air, following them for a spell, and disappearing.\u003c\/p\u003e\n","brand":"Numero","offers":[{"title":"LP","offer_id":40262510346438,"sku":"NUM802LP","price":15.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40262510313670,"sku":"NUM802dig","price":5.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/NUM802_Antena_CaminoDelSol_LP_Black.jpg?v=1657302517"},{"product_id":"otis-brown-southside-chicago","title":"Southside Chicago","description":"\u003cp\u003eChicago’s tangled web of micro labels and small time players is no better illustrated than by the career of Otis Brown. In his ten years on the scene, Brown ran four imprints, warmed stages for Muddy Waters, Jimmy Reed, and Alvin Cash, greased the palms of the city’s top DJs, wrote a theme song for his beloved southside, recorded a Jackson 5 cash-in with his son Otis III, and produced a handful of heavenly girl group sides. Brown arrived in Chicago with his mother in the early ’50s by way of Memphis. His first forays in the music business came via his mother’s occasional boyfriend Browley Guy, a slick crooner who’d cut 78s for Checker and States, but was looking to make a label play. Brown, his uncle King David Bevill, and Browley set up Olé Records in the summer of 1966 to issue Otis Brown \u0026amp; the Delights’ “Southside Chicago,” which despite a lot of palm greasing and cajoling by all three partners failed to break outside the eponymous geographic area. Other than Brown, the label only issued a single by his girlfriend Rose Rice’s group, The Para-Monts. He felt burned by his older partners and restarted under the banner of Lujuna Records, named for his eldest daughter. Primarily a vanity imprint for his own efforts, Brown also recruited local talent, including The Soulettes, Samuel Lovelee, Brand New Faces, Presidents Council, and WVON DJ Joe Cobb. To keep his brand fresh, he also issued some titles under the ExSpectMore imprint, though the catalog system was consistent between the two brands (and some titles came out under either heading, confusingly). Although several titles sold well, the losses mounted up and he cut them loose, moving to Dallas in 1972, ceasing his efforts as producer, performer, and entrepreneur.\u003c\/p\u003e\n","brand":"Numero","offers":[{"title":"LP","offer_id":40262545047750,"sku":"NUM1265lp","price":21.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40262545014982,"sku":"NUM1265dig1","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/Num1265_OtisBrown_SouthsideChicago_LP_Black.jpg?v=1657301870"},{"product_id":"new-world-music-intellectual-thinking","title":"Intellectual Thinking","description":"\u003cp class=\"dropcap\"\u003ePre-dotcom electro-funk from the long-running S.F. collective New World Music, gathering the best of their opium-hazed Macola-issued singles on one tidy 12\". Winding keys loosely hug an over-worked 808, as a slapping, watery bass gallops alongside, the looming bummer of the mid-’80s drug war hanging heavy over the whole affair. \u003cem\u003eIntellectual Thinking\u003c\/em\u003e finds New World Music jamming towards a techno future that never arrived.\u003c\/p\u003e\n","brand":"Numero","offers":[{"title":"12in","offer_id":40262605832390,"sku":"NUM803LP","price":15.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40262605799622,"sku":"NUM803dig","price":9.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/NUM803_NewWorldMusic_IntellectualThinking_LP_Black.jpg?v=1657301605"},{"product_id":"rupa-disco-jazz","title":"Disco Jazz","description":"\u003cp\u003eBarely disco and hardly jazz, Rupa Biswas’ 1982 LP is the halfway point between Bollywood and Balearic. 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Sarod and synthesizer intricately weaving around one another for 37 transcendent minutes, culminating in the viral hit “Aaj Shanibar.” Remastered from original analogue source material and with the permission and blessing of the producers and performers.\u003c\/p\u003e","brand":"Numero","offers":[{"title":"Disco Ball Silver Vinyl","offer_id":42687635161286,"sku":"NUM805lp-C5","price":20.0,"currency_code":"USD","in_stock":true},{"title":"Black Vinyl","offer_id":43193333350598,"sku":"NUM805lp","price":20.0,"currency_code":"USD","in_stock":true},{"title":"Disco Rainbow Vinyl","offer_id":42687635128518,"sku":"NUM805lp-C4","price":20.0,"currency_code":"USD","in_stock":true},{"title":"Sunsugar Color Vinyl","offer_id":41640932180166,"sku":"NUM805lp-C3","price":20.0,"currency_code":"USD","in_stock":false},{"title":"CD","offer_id":40262642106566,"sku":"NUM805cd","price":20.0,"currency_code":"USD","in_stock":false},{"title":"Digital","offer_id":40262642139334,"sku":"NUM805dig","price":6.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/files\/NUM805lp-C5RupaDiscoSilverDiscoBallVinylMockup.png?v=1709764091"},{"product_id":"sanford-clark-they-call-me-country","title":"They Call Me Country","description":"\u003cp class=\"dropcap\"\u003ePropelled by his 1956 Lee Hazlewood-produced hit “The Fool,” Sanford Clark was already a rockabilly legend in his own right by the time he swapped his hair gel and switchblade for a pair of cowboy boots on \u003cem\u003eThey Call Me Country\u003c\/em\u003e. Recorded between 1965-67 and originally released as a series of singles for Phoenix’s Ramco label, the 12 tracks on this LP borrow Bakersfield’s outlaw sound and ignore Nashville’s countrypolitan flair, standing as a true lost masterpiece of country music’s third generation. Clark’s booming baritone tells tales of bar fights, heartaches, and drinking til you can’t stand, while Waylon Jennings provides a backdrop of fuzzed out guitar twang. Mastered from the original session tapes and back on vinyl for the first time since the Nixon administration.\u003c\/p\u003e\n","brand":"Numero","offers":[{"title":"Opaque Blue LP","offer_id":41640988606662,"sku":"NUM1268LP-C1","price":27.0,"currency_code":"USD","in_stock":true},{"title":"LP","offer_id":40262750372038,"sku":"NUM1268lp","price":25.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/NUM1268_SanfordClark_TheyCallMeCountry_LP_OpaqueBlue.jpg?v=1657149199"},{"product_id":"joanna-brouk-the-space-between","title":"The Space Between","description":"\u003cp class=\"dropcap\"\u003ePreviously issued on three rare cassette-only editions, Joanna Brouk’s 1980 sophomore album \u003cem\u003eThe Space Between\u003c\/em\u003e has finally been given spacious LP quarters. The side-long title track, performed by Brouk’s Mills College instructor and sometime-lover Bill Maraldo is among the deepest and most distinctive pieces in the new age canon, while side B’s three cuts expand the theme in hypnotic new directions.\u003c\/p\u003e","brand":"Numero","offers":[{"title":"LP (White Vinyl)","offer_id":41368216633542,"sku":"NUM810lp-C1","price":25.0,"currency_code":"USD","in_stock":true},{"title":"LP","offer_id":40262771736774,"sku":"NUM810LP","price":23.0,"currency_code":"USD","in_stock":false},{"title":"Digital","offer_id":40262771704006,"sku":"NUM810digital","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/NUM810_JoannaBrouk_TheSpaceBetween_LP_White.jpg?v=1657148149"},{"product_id":"gary-davenport-scattered-thoughts","title":"Scattered Thoughts","description":"\u003cp class=\"dropcap\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eA treasure trove of early underground from San Antonio’s first “punk” label Closet Records. 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Packaged in a heavy-weight tip-on sleeve, with an accompanying book chronicling the entire sordid affair and visual discography.\u003c\/span\u003e\u003c\/p\u003e","brand":"Numero","offers":[{"title":"LP","offer_id":40262850085062,"sku":"NUM197LP","price":25.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40262850052294,"sku":"NUM197digital","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/NUM197_GaryDavenport_ScatteredThoughts_LP_Black_5eaae3de-d53b-457e-9228-684408fa46e8.jpg?v=1657045736"},{"product_id":"dhaima-love-lives-forever","title":"Love Lives Forever","description":"\u003cp class=\"dropcap\"\u003eA heady mix of digi killers, digital roots, dub, electro, and unlikely vocoder magic, \u003cem\u003eLove Lives Forever\u003c\/em\u003e is the first ever compilation of Miami reggae-not-reggae diva Dhaima.  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Pressed loud on black vinyl in a long-playing format to mash up your home speakerbox.\u003c\/p\u003e\n\n\n\n","brand":"Numero","offers":[{"title":"LP (Purple)","offer_id":40262907723974,"sku":"NUM809lp-C1","price":20.0,"currency_code":"USD","in_stock":false},{"title":"LP","offer_id":40262907691206,"sku":"NUM809lp","price":18.0,"currency_code":"USD","in_stock":false},{"title":"Digital","offer_id":40262907658438,"sku":"NUM809digital","price":6.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/NUM809_Dhaima_LoveLivesForever_LP_Purple.jpg?v=1656614943"},{"product_id":"masumi-hara-4-x-a-dream","title":"4 X A Dream","description":"\u003cp class=\"dropcap\"\u003eA seamless mix of the organic and inorganic, the recent past and distant future, and the possible and impossible, Japanese multi-media artist Masumi Hara’s sophomore album arrived like a fish on the moon in 1984. An album filled with contradiction and purpose, \u003cem\u003e4 X A Dream\u003c\/em\u003e is both balearic acid folk and damaged steel drum dub, hi-tech new wave balladry and ambient synth pop. Classical and neoimpressionist vibes haunt and entrance. Quite possibly the most unique LP you’ll ever add to your collection.\u003c\/p\u003e\n\u003cimg src=\"https:\/\/s3.amazonaws.com\/numero-cdn\/images\/atoms\/masumi-hara-4-x-a-dream\/atom-1580337483.jpg\"\u003e\n\u003cfigure\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/NUM811_MasumiHara_4xADream_LP_Beachball_Splatter_480x480.jpg?v=1656613978\" alt=\"\" data-mce-fragment=\"1\" data-mce-src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/NUM811_MasumiHara_4xADream_LP_Beachball_Splatter_480x480.jpg?v=1656613978\"\u003e\u003cbr\u003e\n\u003cfigcaption\u003eBeachball Splatter Vinyl\u003c\/figcaption\u003e\n\u003c\/figure\u003e","brand":"Numero","offers":[{"title":"LP (Beachball Splatter Vinyl)","offer_id":40262920831174,"sku":"NUM811lp-C1","price":23.0,"currency_code":"USD","in_stock":true},{"title":"LP","offer_id":40262920798406,"sku":"NUM811lp","price":20.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40262920765638,"sku":"NUM811digital3","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/NUM811_MasumiHara_4xADream_LP_Beachball_Splatter.jpg?v=1656614008"},{"product_id":"tommy-mcgee-im-a-stranger","title":"I'm a Stranger","description":"\u003cp class=\"dropcap\"\u003eJust as Al Green’s “Back Up Train” was pulling out of Grand Rapids, Michigan, for a whistle-stop tour to the top of the charts, producer Palmer James began eyeing another Furniture City branch line: Tommy Mcgee. The result was 1976’s \u003cem\u003ePositive-Negative\u003c\/em\u003e, the creative apex in a career littered with endless bottoms. Gathered for the first time are Mcgee’s timeless album, singles for Golden Voice, Mercury, TMG, and Tosted, as well as the complete output of his nascent mid-‘60s funk combo the T.M.G.’s.\u003c\/p\u003e\n\t\u003cimg src=\"https:\/\/s3.amazonaws.com\/numero-cdn\/images\/atoms\/tommy-mcgee-im-a-stranger\/atom-1588267376.jpg\"\u003e\n","brand":"Numero","offers":[{"title":"2xLP (Blue Heaven Vinyl)","offer_id":41156165206214,"sku":"NUM076lp-C1","price":30.0,"currency_code":"USD","in_stock":true},{"title":"2xLP","offer_id":40262966083782,"sku":"NUM076lp","price":25.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40262966051014,"sku":"NUM076digital","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/NUM076_TommyMcGee_ImAStranger_LP_BlueHeaven.jpg?v=1656611808"},{"product_id":"archie-james-cavanaugh-black-and-white-raven","title":"Black and White Raven","description":"\u003cp class=\"dropcap\"\u003eA masterpiece of the schooner rock variety, \u003cem\u003eBlack and White Raven\u003c\/em\u003e is an album that emerged from Archie James Cavanaugh’s youthful dream of recording his own music while stuck in the Alaskan wilderness. “This dream was always elusive,” Cavanaugh said, “believing either that it was only meant for those famous artists who got picked up by major record labels, or that it was just too impossible to achieve because of cost and lack of know-how.” With a freewheeling cast culled from Archie’s travels around the Pacific Northwest, \u003cem\u003eBlack and White Raven\u003c\/em\u003e was set down as the ’70s crested and self-released in the spring of 1980. Traces of disco, AM gold, gospel, and yacht mixed freely with his Tlingit heritage, creating a breezy and optimistic portrait of life in the 49th state.\u003cbr\u003e\u003c\/p\u003e","brand":"Numero","offers":[{"title":"Ravenous Vinyl (Clear Vinyl w\/ Red \u0026 Black Splatter)","offer_id":42541413892294,"sku":"NUM812lp-C2","price":27.0,"currency_code":"USD","in_stock":true},{"title":"White Raven Vinyl","offer_id":41831839858886,"sku":"NUM812lp-C1","price":27.0,"currency_code":"USD","in_stock":true},{"title":"Black Raven Vinyl","offer_id":41831839105222,"sku":"NUM812lp","price":25.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40263014809798,"sku":"NUM5154digital","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/ravenoussplattervinylcopy.png?v=1674077121"},{"product_id":"nuleaf-smooth-jazz-underground","title":"Smooth Jazz Underground","description":"\u003cp\u003eAs the rift between academic jazz, new age, and pop narrowed in the 1980s, DI.Y. practitioners of metronome driven riffs found new growth in a burgeoning managerial middle class, a commercial audience held captive in dentist offices and waiting rooms across America. Session players took to midi-banks stocked with every instrument imaginable and delivered on a road rage-induced demand to stay cool, relaxed, and focused all at once. The extra-wide cuts packaged here will be mint for years to come. Go ahead, break the seal on a fresh pack of Nuleafs. There’s only one sensation this smooth.\u003cbr\u003e\u003c\/p\u003e\n\u003cimg src=\"https:\/\/s3.amazonaws.com\/numero-cdn\/images\/atoms\/nuleaf-smooth-jazz-underground\/atom-1587496613.jpg\"\u003e\u003chr\u003e\n\u003cp\u003eAbout the \u003ca href=\"http:\/\/www.numerogroup.com\/d\/the-cabinet-of-curiosities-a-numero-universe\"\u003eCabinet of Curiosities\u003c\/a\u003e: \u003cbr\u003e \u003cbr\u003e For Numero, taking time to explore the more esoteric possibilities of our creative practice provides a deeper understanding of the resulting piece of work. This curatorial exercise, usually relegated to mix tapes and oddball DJ nights, has allowed us to see the connections between our most far reaching corners.\u003cbr\u003e \u003cbr\u003e After years of whittling away at the art of compilation, this part of the practice came to the foreground, and an alternate view began to emerge. The outlines of a context beyond time and place, individual and scene. Threads sewn through the fabric of music history that tell a story primarily concerned with intentionality, psychic connections, and vibe. \u003cbr\u003e \u003cbr\u003e To tell these stories an equally symbolic medium is required.\u003cbr\u003e \u003cbr\u003e In order to create an object that can emote the value of the like minded yet distant relationships therein we looked to the world of commercial production running parallel to these musical subcultures. The treasure chest of artifacts made during the 20th century’s post-industrial free-for-all may be the only conceptually appropriate talisman for this music, the ability to bring the studio home was after all made by the same mechanism that brought on the consumer gold rush.\u003cbr\u003e \u003cbr\u003e The consumer experience embodied by the secondary market, dog eared, footnoted, taken apart and tinkered with. The cabinet is a simulacrum of the lost and found. Our commercially nostalgic spirit-animal, redressed to be a more accurate representation of our emotional experiences with these objects. Less concerned with function than with the memories we associate with them.\u003cbr\u003e \u003cbr\u003e The Cabinet of Curiosities is Numero’s tribute to the origin of the DIY museum, with our curatorial focus as always on the heroically home-made, the expanding fan universe, the suburban studio sublime.\u003c\/p\u003e","brand":"Numero","offers":[{"title":"LP (Cellophane Green)","offer_id":40263036698822,"sku":"NUM107lp-C1","price":27.0,"currency_code":"USD","in_stock":false},{"title":"LP","offer_id":40263036666054,"sku":"NUM107lp","price":25.0,"currency_code":"USD","in_stock":false},{"title":"Digital","offer_id":40263036633286,"sku":"NUM107digital","price":14.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/NUM107_Nuleaf_SmoothJazzUnderground_LP_CellophaneGreen_397e0dac-4f29-4a0b-af69-bf87ef57d2eb.jpg?v=1656528107"},{"product_id":"rust-side-story-vol-24","title":"Vol. 24","description":"\u003cp\u003eThe third installment of Numero’s ode to lowrider souldies, Rust Side Story compiles highly sought after sweet soul singles from the Buck Eye State. 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By its completion, \u003cem\u003eUnderstand Each Other\u003c\/em\u003e—more often referred to as \u003cem\u003eThe ConVeyor\u003c\/em\u003e, with that uppercase V intentional but unexplained—featured generations of Cleveland luminaries, and representation from most scenes, both sexes, and several ethnicities. The album’s credits read like the guest list for a Lou Ragland episode of \u003cem\u003eThis Is Your Life\u003c\/em\u003e.  Kathy Grant was brought in to arrange the massive Cleveland Orchestra, inviting her father Frank in as first chair cello. A pre-O’Jays Dunn Pearson handled keys, and Richard Shann, the man who Pearson would replace in the O’Jays, got an arranger’s credit as well. The horn section was rounded out by Mother Brain Tree trombonist Ulysses Young, Bell Telefunk trumpeter Watson Vaughn, and future Dazz Band trumpeter Pierre Demudd. 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Like Gaye's own conceptual title track, there is not a dull moment in Ragland’s, as strings, horns, percussion, and vocal motifs rise and fall organically through the monumental piece. Lou testifies throughout, matching the complicated terrain of the dynamic opener. Two songs later, “Since You Said You’d Be Mine” gets its 30-second intro back and looks all the stronger for it. On Side B, Ragland revisits Love For Dollars And Cents’ “Into The Next World”—issued on Co-Co in 1972—stretching the song out toward the five-minute mark but truncating its title. The album closes with an instrumental “Understand Each Other,” reminding the listener to flip the record over and begin again.  \u003cbr\u003e\n\u003cbr\u003e\nThe album’s jacket must be the most curious element of the package. 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Little did Ragland know, an interracial band of musical Englishmen were eyeballing the same nom de chanson in their native Brixton. They approached John Lennon for clearance for their reggae cover of “Give Peace a Chance,” but the powerful Beatle liked their interpretation so much, he added them to the band’s Apple Records roster, thrusting the Brits ahead in the race to make Hot Chocolate a household name for something other than dark, sweet beverages. \u003cbr\u003e \u003cbr\u003e Despite the potential confusion—and perhaps in hope of capitalizing on it—Lou Ragland began filling his mug with a host of recordings that would make up his Hot Chocolate’s eponymous debut. The album would be released on the oh-so-cleverly-named Co-Co label in 1971 and bankrolled by a five-pointed council that included Ragland, Lyman Moffat, Loretta Walker, Tom Threat, and Leonard Jackson. 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Dick Dugan, the Cleveland Plain Dealer sports illustrator who’d later conceive iconic mascots for the pro baseball Indians and pro football Browns during his career, was commissioned to sketch out the \u003cem\u003eHot Chocolate\u003c\/em\u003e cover for a paltry $100. Working from a photograph, Dugan penned an imaginative rendering of the group, performing in a mugfull of their namesake dessert drink. 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