{"title":"The Beehive","description":"","products":[{"product_id":"fern-jones-the-glory-road","title":"The Glory Road","description":"\u003cp\u003eHer voice was all Saturday night, delivered on a Sunday morning. Patsy on Jesus. Elvis without the pelvis. Fern Jones’ only album, released by Dot Records in 1959, captured 36-year-old Sister Fern as she anointed church music with the same untamed energy that younger white Southerners were bringing to their rock ’n’ roll. Produced by Mac Wiseman and showcasing crack Nashville session players Hank “Sugarfoot” Garland, Floyd Cramer, Joe Zinkan, and Buddy Harman fresh off their June 1958 session with The Pelvis, Singing A Happy Song should’ve taken Jones from dusty canvas big tops to the Opry’s storied stage. But with no 45 to flog, Jones instead sold nary a record and never did hear herself on the radio. Her fiery rockabilly gospel was a few shades too radical for the conservative, traditional, near puritanical public she played to anyway. \u003cem\u003eFern Jones: The Glory Road\u003c\/em\u003e collects her \u003cem\u003eSinging A Happy Song\u003c\/em\u003e LP and cuts including “Didn’t It Rain,\" from her \u003cem\u003eThe Joneses Sing\u003c\/em\u003e album, into one rousing package, rich with the details and imagery of a brief career spent tethered to the hard ground and gazing skyward. \u003cem\u003eThe Glory Road’s\u003c\/em\u003e sound gnaws at the bit and stands in reverence, a runaway rockabilly tent show without a single drop of rain on the horizon.\u003c\/p\u003e\n","brand":"Numero","offers":[{"title":"CD","offer_id":40259402956998,"sku":"NUM005cd","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40259402989766,"sku":"NUM005dig1","price":10.0,"currency_code":"USD","in_stock":true},{"title":"2xLP","offer_id":40259403022534,"sku":"NUM005LP","price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/atom-1539026549.jpg?v=1626880264"},{"product_id":"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":"eccentric-soul-the-forte-label","title":"The Forte Label","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eFrom 1967-1980, Kansas City’s Forte Records captured nearly every iteration of popular Black music; basement beehiver-y from The Ray-Ons and Four Darlings, funky soul from Gene Williams Lee Harris, Louis Chachere, and The Fantastiks, downtempo disco ballads from James Whitney and Sharon Revoal, and the newly independent work of James Brown’s former Soul Sister #1 \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eMarva Whitney. Compiled here are 28 of the label’s enduring sides, contextualized with copious photos, ephemera, and essay, all housed in heavy weight gatefold jacket. Who knows how to do “The Hen”?\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Numero Group","offers":[{"title":"Tear Drops Blue Color Vinyl (2xLP)","offer_id":42972031189190,"sku":"NUM047lp-C1","price":35.0,"currency_code":"USD","in_stock":true},{"title":"Black Vinyl (2xLP)","offer_id":40260948951238,"sku":"NUM047lp","price":33.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":40260948885702,"sku":"NUM047cd","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40260948918470,"sku":"NUM047dig1","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/files\/NUM047lp-C1V_ATheForteLabel_TearDropsBlueColorVinyl2xLP.png?v=1701301427"},{"product_id":"trinikas-black-is-beautiful-bw-remember-me","title":"Black Is Beautiful b\/w Remember Me","description":"\u003cp\u003eSince the rediscovery of the Trinikas pleading “Remember Me” at the turn of the century, rumor held that the song had been written as an elegy, after the tragic 1969 passing of original Trinikas tenor Marsha Bratton. But songwriter and singer Debbie Sheffield authoritatively sets that record straight: “The song’s about an intense relationship. Me and my boyfriend kept breaking up over and over. Nothing more. It’s interesting that she would be linked to that song, ‘cause Marsha didn’t really like me at first. When we all got to high school, we became great friends.” Before adopting the Trinikas name, Bratton, Sheffield, Georgetta Dixon, and Lenise “T-Bird” Morgan candy striped at hospitals as part of their junior high school’s Paramedical Career Club, singing to patients when appropriate. When Bratton, Dixon, and Morgan graduated to Oklahoma City’s Douglas High, they kept up singing with the younger Sheffield, daughter of unsung jazz pianist Leslie Sheffield. Sheffield had been a pioneer on the outer-west jazz circuit, holding down a regular night at Louie’s 29 Club during the ’50s and ’60s. His insistence that Debbie learn to play the piano and his support of her compositional work ultimately gave her singing group a leg up over their Douglas High peers. Sheffield rejoined her classmates in the fall of 1967, began singing with Leroy Hicks’ choir, and spent her afternoons and early evenings in his classroom writing and singing with the group that had come to be known as the Trinikas.\u003cbr\u003e\n\u003cbr\u003e\nIn 1962, Oklahoma City entrepreneur Richard Gilleland opened a local franchise branch of Saugus, California-based Century Records, filling a void in regional record manufacture demand with affordable pressings and recordings, many tracked on his mobile recording studio. “I had a large Ampex 354. But I wasn't interested in getting into the rock music stuff. The musicians were flaky, and they wanted you to put up the money,” said Gilleland. “I decided I’d rather stick with the schools.” He struck a deal with Douglas High to record a series of LPs to be used as music program fundraisers. Debbie Sheffield and Georgetta Dixon's “Black Is Beautiful” had become something of a theme song within Douglas High’s halls; it was the fundraising album’s lone original, and ultimately its title track. The Trinikas cut the track in Gilleland's garage, with Ronald Hamilton on bass and David McKinney on drums, and issued a teaser on Century with the Sheffield\/Felix Scott duet “On The Street Where You Live” as the flip. The 45s were scooped up quickly by the student body, leading Gilleland to soften his hardline stance on investing in groups. \u003cbr\u003e\n\u003cbr\u003e\nIn the fall of 1969, Gilleland and the Trinikas journeyed 360 miles northeast to Independence, Missouri’s Cavern Studio to capture a professional rendering of “Black Is Beautiful,” in addition to fresh Sheffield original “Remember Me.” Kansas City organ specialist Louis Chachere was called on to produce, fresh off “The Hen,” a Hammond-funk workout he’d be best remembered for. A fee of $600 was charged for the national distribution and promotion of the resulting 45 by Pearce, John Pearson and Larry Good's custom recording operation that amounted to a local version of Century. Released in October 1969, the 45 eventually saw several pressings and as many as 3500 copies. But with the Trinikas still in high school, opportunities to promote the single outside their hometown were limited. \u003cbr\u003e\n\u003cbr\u003e\nThe Trinikas recordings at Cavern would be their last. Marsha Bratton, the daughter of a stern minister, was on restriction the night of Douglas High’s fall talent show. “We were prepared to do the show without her, but she snuck out and surprised us,” recalled Sheffield. “That was the last time I saw her.” Bratton and her sister left the talent show and were en route to Tulsa when their car was struck by an oncoming vehicle. Marsha died instantly, and her sister lost both legs. Douglas High’s fundraising album was released in the spring of 1970, carrying a dedication to Marsha Bratton. The Trinikas went on a brief hiatus that winter and skipped the spring 1970 talent show that would be captured on Century’s \u003cem\u003eBlack-Out New Sounds of 70\u003c\/em\u003e LP, a double album Gilleland billed to its financiers as a way to showcase local talent. Douglas High talents the Chante’s, Uniques, Daeshawns, Antics, and Star Lites turned in serviceable cover songs of the day’s hits, but none of them could match what their classmate's quartet had achieved. \u003cbr\u003e\n\u003cbr\u003e\nThe Trinikas’ downtime continued through the summer of 1970, prompting Gilleland to suggest that Sheffield break off and go solo. Marsha Bratton’s replacement was found in Gloriadean Tucker, and the group continued to sing together until Tucker and Sheffield’s graduation in 1971. “I went off to Virginia Union that fall and never looked back,” said Sheffield. “We were so close, us girls. Doesn’t really matter if people have the story wrong, I’m just so surprised we’re remembered at all.”\u003cbr\u003e\n\u003c\/p\u003e\n","brand":"Numero Group","offers":[{"title":"45","offer_id":40261354750150,"sku":"NUM045.39","price":12.0,"currency_code":"USD","in_stock":false},{"title":"Digital","offer_id":40261354717382,"sku":"NUM045.39dig","price":2.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/NUM045_39_Trinikas_BlackIsBeautiful_45_Black.jpg?v=1659465959"},{"product_id":"the-shades-santa-claus-is-coming-to-town-bw-prancers-got-some-red-spots","title":"Santa Claus Is Coming To Town b\/w Prancer's Got Some Red Spots","description":"\u003cp\u003eGirl group greatness for your holiday soiree! Figuring it would take a Christmas miracle to break them out of rural Indiana, the Shades—Cindi, Jannie, and Suzi—traveled to Chicago’s RCA Studios in 1966 to cut the holiday perineal, “Santa Claus Is Coming To Town.” Backed with the original “Prancer’s Got Some Red Spots” and released on Indiana's tiny Fujimo label.\u003c\/p\u003e","brand":"Numero Group","offers":[{"title":"45 (Red Spots Red)","offer_id":41217236598982,"sku":"ES053LP-C1","price":13.0,"currency_code":"USD","in_stock":true},{"title":"45","offer_id":41170967331014,"sku":"ES053LP","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40261427495110,"sku":"ES053digital","price":2.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/ES053_TheShades_SantaClausIsComingToTown_45_RedSpotsRed.jpg?v=1659377219"},{"product_id":"eula-cooper-let-our-love-grow-higher","title":"Let Our Love Grow Higher","description":"\u003cp class=\"dropcap\"\u003eIn the past it’s been called Terminus, The Gate City Of The South, Dogwood City, The City Too Busy To Hate, more recently The ATL, and always Hotlanta. But despite also being called the Black Mecca, Atlanta produced a relatively small batch of black records. Citizens of the greater metropolitan area can tell you about the Hooch, the Big Chicken, Little Five Points, Spaghetti Junction, and Gwinetians, but ask them where Record Row is located and they’ll likely respond with a shrug. \u003cbr\u003e \u003cbr\u003e The first half of the 20th century was a productive time for black business in Atlanta. In spite of oppressive Jim Crow laws, black entrepreneurs founded the first black-owned newspaper, the largest black-owned insurance company, and dozens of hotels, office buildings, and restaurants in the “Sweet Auburn” district. A number of prestigious educational institutions filled Atlanta's black neighborhoods, led by Booker T. Washington High School, Morehouse College, Morris Brown College, and Atlanta University. By 1960, Atlanta was cemented as the heart of the “Chitlin Circuit,” when venues like Club Poinciana, the Builders Club, Magnolia Ballroom, and, of course, the infamous Royal Peacock reached their prime. Marginalized by uptight whites with one foot out of Fulton County on their way to suburban bliss, black record producers turned inwards, inadvertently changing the course of the entire Atlanta record business. Isolated from white entrepreneurs looking to cash in on the burgeoning R\u0026amp;B market, labels like T\u0026amp;L, Esprit, Hunter and Midtown popped up but, without access to white-owned radio and distribution, found themselves unable to compete outside the Perimeter.\u003c\/p\u003e\n\u003cp\u003eFor the better part of two decades it was nearly impossible to get a hit record with a hometown logo. Michael Thevis’s Aware and GRC labels managed a few between Loleatta Holloway, the Counts, and Ripple, but most of the charting records by Atlanta artists carried the mark of a major or major independent. Wendell Parker produced for Decca and his Shurfine label leased to Josie; Mighty Hannibal had minor successes on Josie and King; the Tams charted for ABC; Blind Willie McTell recorded for Atlantic; Duke Pearson produced and recorded for Blue Note; and Piano Red hit with “Dr. Feelgood” on Columbia while his guitarist Roy Lee Johnson went solo for Columbia subsidiary Okeh. Jesse J. Jones’s trajectory would follow a similar, though less fortunate, curve. \u003cbr\u003e \u003cbr\u003e Jones spent a decade on the west coast operating the Lita, Morocco, and \u003ca href=\"http:\/\/www.numerogroup.com\/products\/eccentric-soul-the-4-j-label\"\u003e4-J\u003c\/a\u003e labels from 1957-1967, returning to his native Atlanta following the collapse of 4-J and a spell hiding from debt collectors. After settling in, he founded the newly minted \u003ca href=\"http:\/\/dev.numerogroup.com\/products\/eccentric-soul-the-tragar-note-labels\"\u003eTragar\u003c\/a\u003e label in 1968, the name sharing syllables with Jones’s wife Tracy and his eldest son Gary. He opened an office at 799½ Hunter St. N.W. in the West End—the cultural core of Black Atlanta—down the street from the best nightclubs and smack dab in the middle of four major black colleges, the location couldn’t have been better for recruiting talent. And while early singles by Tokay Lewis, Tee Fletcher, Chuck Wilder, and Frankie and Robert made minor impacts locally, a powerful voice was about to walk through his door and take Tragar national. \u003cbr\u003e \u003cbr\u003e Born in Opelika, Alabama, but raised in both Birmingham and Atlanta, Eula Cooper was the artist Jesse Jones had been waiting for. Beautiful, articulate, and headstrong, Cooper had an incredibly adept command of her voice, green though she was. Cooper was trying on clothes at the boutique downstairs from the Tragar offices when she giggled her way through “Shake Daddy Shake” for her friends. The shop’s proprietor suggested she take the song to the guy on the second floor. Cooper and her friends marched upstairs to find Jesse Jones sitting behind a small desk in a paneled office. After her performance of “Shake Daddy Shake,” Jones immediately sent Eula home to fetch her mother. A child of divorce, Jones would become something of a father figure to her over the next four years, as she would spend all her time between Booker T. Washington High and the office, studio, or stage. Jesse Jones believed that Eula Cooper was the best chance they had for hit status outside the city.\u003c\/p\u003e\n\u003cp\u003e“Shake Daddy Shake” seemed to prove that hypothesis, immediately finding a place on the local charts. Regional radio promoter Charles Geer began pushing the single outside of I-285’s loop and even convinced Atlantic Records to license it for a national run. Neither “Shake Daddy Shake” nor “Heavenly Father” had the legs or production values to jump state lines, but this would hardly be Eula’s last foray into the studio. At fourteen, it seemed she had plenty of time to crack the charts. \u003cbr\u003e \u003cbr\u003e As 1969 rolled in, Jesse Jones was finalizing the second Eula Cooper 45. The two had spent most of the fall in the studio working on a handful of tracks, but “Try” was the clear standout. Tommy Stewart’s arrangement was impeccable, a simple melody taped out on glockenspiel for the introduction lead to a mid-tempo soul jam with royalty written all over it. For the b-side, Jones went familiar and used a note-for-note remake of Martha Reeves \u0026amp; the Vandellas 1965 hit “Love Makes Me Do Foolish Things.” It was built for chart movement but Tragar’s meager turnover left Eula Cooper’s best shot lost in the shuffle. The final 45 to carry the Tragar script was a Eula Cooper recycle job. Jesse Jones believed so firmly in her abilities that he took her under-promoted third single “I Can’t Help If I Love You” on the back of the key-vamped “That’s How Much I Love You.” Both songs were good, but missed the ingredients that made the first two Cooper singles great. Amid continuing lack of success, it made no sense to push forward on the same path. By the middle of 1969, the lights on Jesse Jones productions were turned off and the Tragar label retired. \u003cbr\u003e \u003cbr\u003e For the rest of 1969, Jones continued to work his artists on the regional chitlin’ circuit, booking and promoting their live shows. A real estate agent who had helped him with some of his credit problems was poking at the edges of the record business, and Jones could only oblige, founding the Super Sound label in early 1970. With a new infusion of cash, Jones made a move that was long overdue: he took Eula Cooper and band out of Atlanta into an entirely different world of recording quality at Muscle Shoals Sound Studios. For Jones, sweet relief was being back among true professionals, surrounded by the sound that superstars trekked the globe for. “Let Our Love Grow Higher” is eons away from any of Eula’s prior sessions. That it missed the charts can only be attributed to a lack of promotion. Whether the records washed out or the housing market dried up, funding for Super Sound was done for after follow up flops by Bobby Owens \u0026amp; the Diplomats and Sonia Ross.\u003c\/p\u003e\n\u003cp\u003eAddicted to record producing, Jesse Jones fired up his third label in as many years in 1971: Note Records. With Muscle Shoals churning out hits every week, Jones was convinced that his smash lay in the hands of the studio’s crack session men the Swampers. The first single on Note was Eula Cooper’s “Standing By Love”—a left over from the “Let Our Love Grow Higher” sessions—backed by the heart-rending ballad “I Need You More.” As the calendar switched over, Jones dragged Cooper into Melody Recording in Atlanta for the Bobbie Gentry-style story song “Mr. Henry” and slapped “I Need You More” on the back, but the results didn’t change. \u003cbr\u003e \u003cbr\u003e Now a senior in high school, Eula Cooper was performing often and recording occasionally. She spent spare time singing in the choir, leading to the formation of the Cherry Blend with two choir friends, Shari Billingslea and Deborah Tolls. The trio recording of “Love Is Gone”—a sultry ballad in the Honeycone vein— prompted King to pick it up for a national run. Unfortunately, the girls, including Eula, had dispersed to different colleges and the group wouldn’t be able to support the single. Jones squeezed two more singles out his stash of Cooper recordings; 1973’s “Beggars Can’t Be Choosey”—recorded at Fame Studios with Sam Dees behind the board—was paired with “I Need You More,” but the third time was hardly a charm. “Standing By Love” was recycled as Note 7210 in 1974 with “My Man Is More Man (Than You’ll Ever Be).” \u003cbr\u003e \u003cbr\u003e Note stumbled into the disco age, issuing quality singles by Richard Marks, the four Tracks, the Young Devines, Tony Troutman, and Clinton Harmon before shuttering in 1976. Jones returned to Los Angeles and opened a ceramics studio and lived a simpler, though admittedly happier life. Eula Cooper and Jesse Jones re-teamed in 1984 for “Feels So Right” b\/w “You’re The Best” on his short-lived Adventure One label. It wa the final record to bear the name Eula Cooper. These later recordings live outside our story, which in truth remains a resident of Atlanta—a chapter in the city’s micro-music business lost among the kudzu and Coke bottles no more.\u003c\/p\u003e","brand":"Numero Group","offers":[{"title":"LP","offer_id":44616121483462,"sku":"NUM1263LP","price":25.0,"currency_code":"USD","in_stock":false},{"title":"CD","offer_id":41284104683718,"sku":"NUM1263cd","price":12.0,"currency_code":"USD","in_stock":false},{"title":"Bundle (Color Vinyl)","offer_id":42648971772102,"sku":"SoulBundleColor2023","price":65.0,"currency_code":"USD","in_stock":false},{"title":"Bundle (Black Vinyl)","offer_id":42648973246662,"sku":"SoulBundleBlack2023","price":60.0,"currency_code":"USD","in_stock":false},{"title":"Digital","offer_id":40262048153798,"sku":"NUM1263dig1","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/NUM1263_EulaCooper_LetOurLoveGrowHigher_LP_Black.jpg?v=1657905121"},{"product_id":"bernadette-carroll-laughing-on-the-outside-bw-heavenly","title":"Laughing On The Outside b\/w Heavenly","description":"\u003cp class=\"dropcap\"\u003eThough not a household name, Bernadette Carroll is one of the more successful teen vocalists of the girl group era. She charted as a member of the Angels, as a solo act, and as a for-hire backup singer. She performed on at least two #1 hits, selling over a million copies of each. You’ve heard her voice, whether you know it or not.\u003cbr\u003e\n\u003cbr\u003e\nBorn Bernadette Dalia in Elizabeth, New Jersey, Carroll was bitten by the performing bug early on, and made her stage debut at age seven. After her family moved to nearby Linden, Carroll dove headfirst into the life of a reckless teen, sneaking out at night with friends so they could hit the local recording studios. They were a popular destination, apparently. Tom DeCillis, a local disc jockey who had branched out into songwriting and producing, gathered enough teenage girl singers to put together a group, the Ifics, who became the Starlets in 1959. “I met the Starlets in a recording studio in Linden,” said DeCillis. “Two sisters from Orange, New Jersey. They, in turn, talked to the engineer of that studio and he mentioned Bernadette Carroll.” The original line-up consisted of sisters Barbara \"Bibs\" and Phyllis \"Jiggs\" Allbut, Lynda Malzone, and Carroll.\u003c\/p\u003e\n\u003cp\u003eDeCillis landed a deal with the Astro label, a jazz outfit looking to make inroads in the developing rock n’ roll market. It released the Starlets’ debut 45, which included the spectral “P.S. I Love You,” b\/w “Where Is My Love Tonight?” The single charted at #102 in the U.S. in 1960, and featured Carroll’s first-ever lead vocal performance on the B-side. \u003cbr\u003e\n\u003cbr\u003e\nThe record’s popularity propelled the underage girls on the road to play local sock hops, radio stations, and amusement parks. DeCillis served as their driver. “I was still in school and our appearances and rehearsals were limited,” Carroll recalled. “They could only be on weekends and holidays.” The group’s follow-up single, “Romeo and Juliet” b\/w “Listen for a Lonely Tambourine,” didn’t earn the same kind of notice and it wasn’t long before a starstruck DeCillis began to focus on Carroll as a solo act, ditching the Starlets entirely.\u003cbr\u003e\n\u003cbr\u003e\nHe released Carroll’s two debut singles on his Julia Records (named after his mother) in 1962, “My Heart Stood Still” b\/w “Sweet Sugar Sweet” and “Laughing on the Outside” b\/w “The Humpty Dump.” DeCillis had connections all over the local scene. One was Tommy Falcone, another local producer and the songwriter behind “The Humpty Dump,” an instructional dance track imagined as a competitor to the Twist. \u003c\/p\u003e\n\u003cp\u003eThe Falcone connection was fortuitous, as he produced Carroll’s next release. Issued in 1963 on his burgeoning Cleopatra label—which featured a half-toned photo of his wife dressed as the Egyptian queen—“Heavenly” was a maximalist marimba-laden wall of sound. Carroll’s fourth single, for Laurie Records, \"Nicky\" b\/w \"All the Way Home I Cried\" didn’t chart, but Laurie saw potential. With her next single, they’d have a hit. \u003cbr\u003e\n\u003cbr\u003e\n“Party Girl” b\/w “I Don’t Wanna Know” stomped and clapped its way up the charts in 1964. It plateaued at #47, then hung around at the bottom for six months. Her next three Laurie singles were all met with declining interest.  \u003cbr\u003e\n\u003cbr\u003e\nAfter Bernadette’s departure, the Starlets reconstituted with a new lineup and a new name that lead them to stardom. In 1961, Peggy Santiglia, formerly of the Delicates, replaced Jansen, and the trio called themselves the Angels. \"I was still connected to the Angels as friends, we were like sisters,\" Carroll said. They often traded harmony vocals on each other’s tracks. In fact, it was the Angels who appear as Carroll’s “friends” on “Party Girl.” \u003c\/p\u003e\n\u003cp\u003eThough she wasn’t officially in the group, Carroll ended up singing harmony on the Angels’ career-making, genre-defining #1 hit single, “My Boyfriend’s Back.” “No one knew what was about to become of that record,” she said. “The rest is history.” It remains one of a small handful of songs that immediately spring to mind when discussing the girl group sound, and the entire era.\u003cbr\u003e\n\u003cbr\u003e\nShe’d also become an in-demand session musician, singing back-up to Connie Francis, Patty Duke, Frankie Lymon, and others. After her final solo single “He's Just a Playboy” b\/w “Try Your Luck” flopped in 1965, she joined Denise Ferri and Peggy Santiglia to form Jessica James and the Outlaws, a “bad girl” group. They released singles on the Dyno Voice and Bronco labels in the mid-’60s. \u003cbr\u003e\n\u003cbr\u003e\nCarroll eventually found her way back to the Angels, who’d retooled their sound to suit the adult-contemporary supper club set. Their fortunes were declining. The classic girl group era was fading by ’68, hopelessly wholesome and out-of-date compared to the emerging subversive sounds of psychedelic soul, funk, and long-haired acid rock. After a short stint with the Serendipity Singers, the former party girl settled down—leaving the music business for good in 1972.\u003c\/p\u003e\n\u003cp\u003e“Laughing on the Outside (Crying on the Inside)” and “Heavenly\" have been remastered from the original analog tapes, pressed on high quality German vinyl, and housed in a stock Numero sleeve.\u003c\/p\u003e\n","brand":"Numero","offers":[{"title":"45","offer_id":40262177194182,"sku":"NUM716LP","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40262177161414,"sku":"NUM716dig1","price":2.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/NUM716_BernadetteCarroll_LaughingOnTheOutside_45_Black.jpg?v=1657738734"},{"product_id":"basement-beehive-the-girl-group-underground","title":"The Girl Group Underground","description":"\u003cp\u003eWho do we become when we live our dreams? It’s all here—the high hairdos, the dreams and schemes, the tender camp, the wedding bell fantasias and chaste tragedies. Sister acts, studio receptionists, classmates, angelic voices of the 1960s; some legendary, many hidden in the basement of expired rainbows. Gathered on this deluxe double CD are 56 (28 on the 2LP) foiled escape attempts, now free to soar in girl group heaven.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp class=\"dropcap\"\u003eWe hear who these girls, these young women are, who they become behind that mic. Voice big, authoritative, divining sure devotion, dejection, and longing. The joy cuts through the rawness. Some of these women, that is all we know of them; all we know is their voice. Not a name. Were they a group, a fantasy, did they go on to other glory, were they receptionists in the studio or some cousin from around the way?\u003c\/p\u003e\n\u003cp\u003eThat’s what fascinates me about these Beehive girls, what I imagine most. What was this moment to them, this minute or three we hear them on here. For some we know it was a transformative moment, a first, this space and place, this point in time where they reached out for something with their big voice and the world met them. For some of them it was sheer ambition, others it took goading, others we encounter here at a moment that feels like the dawning of an obvious fate before they swept up the charts or became a voice we would hear sampled for decades. So did because they liked to sing with their friends. You could do it anywhere. \u003cbr\u003e\u003cbr\u003eWhat we encounter in these girls and their life stories is the mutability of young womanhood. We get a survey of the prospects and possibilities of teenage girl life. We see all the impossible doors that had to open again and again for them to even have something small, and as importantly we see what a superhuman feat it was to surmount all the sureness of these sealed girlfates. The young married mothers went on the road and stayed, I wonder what were the circumstances that availed that, when the same circumstances stopped another girl’s career cold. To be your own person as well care for your family, your husband, and then babies of your own was not a thing that was easily reconciled then. Until the mid-’70s, for young women to pursue a careers was still unconventional. You might do secretarial work or study until you got married. If you worked after you were married it might be at your husband’s discretion. It’s hard to imagine the teen-geniuses you heard in this box of Beehives all living grim lives, but merely suggest we consider the baseline state of girl existence then, the premium put on keeping one’s girlhood respectable and modest, as well as the racialized expectations that enclosed their lives. \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eGirl groups specialized magic was the energized projection of chastity—they stood starkly against all the reckless resolutions and temptation inherent to rock n’ roll. Young women were often essentially passed from their father to their husband, who were tasked with their protection and keep. How far your dreams extended outside your head were pursuant to parental permission, their attitudes and relationships with music, how far your singing strayed from church singing. Marriage and babies were a predetermination, the regular route; straying from it was a sign of a moral corruption, selfishness, or infirmity. \u003cbr\u003e\u003cbr\u003eWhat circumstances had to align for the girls who got further? A husband who loved their voice? A husband in a band? Did her hope float on his ambition? A husband who saw the little bit of ends she was making and deemed the effort worthwhile? A brother who needed a singer for his songs? A mom or sister at home who could take that baby while she toured? A mom at home who lived to see her daughter thrive? A father who did not fret about what applause and stage lights might draw his daughter into?\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eDid these girls threaten and cajole? Did they bargain? Did they plot? Did they do it anyway? What were the stakes and the trade-offs and the risks? And what of the girls with their dreams deferred, muted by marriage and babies and band break-ups? Did those dreams live out in church choirs and lullabies? What becomes a dream in a time when the fullness of your talents, your desire, the mere existence of your ambition is not yet permissible—how do you live? How do you stake this for yourself? What of yourself do you mute? What ways do you origami-fold your dreams into being?\u003cbr\u003e\u003cbr\u003eGirl dreams need a thousand contingencies.\u003cbr\u003e\u003cbr\u003eGirl dreams need a thousand contingencies because they had to pass through other people’s expectations. What good girls do. What’s the wrong idea you could give someone about who you are in a song. What is good enough. What is godly enough. Girls are the guardians, but not the gatekeepers, of their own dreams. These girls dreams were liable to be crushed soon as their leapt from their throats.\u003cbr\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003eFor decades we have cited the looming Svengalis, high hair, the tender camp of chaste tragedies of the songs, these tenth grade loves and wedding-bell fantasia made brilliant by the eager young voices that carried it; But how much consideration have we ever given of their girls own cunning and their artistry? The premium work being one of authenticity, and authenticity always seemed to mean it has to be yours, it had to come from you, your experience. Not crafted in another room and applied as a loose pop science in a studio. But what about these girls, their groups was this not as real? How to accord them what is due to them, for what imagination they capture these songs? Who do these women, these artists, become in our minds and in music history when we believe what they are expressing is their own thought and feeling?\u003cbr\u003e\u003cbr\u003eGirl groups were considered unsellable, unmarketable, and a fad. Managers and many record labels believed they were a gimmick, despite evidence to the contrary. Though the Chantels were the first girl group to prove they had the longevity of more than one hit, and the Bobbettes before them made it to the Top 10 and #1 on the R\u0026amp;B charts simultaneously, with their own composition “Mr. Lee,” yet these precedents didn’t become standards, or accord teen girls their own genius. The Svengalis around girl groups were often the ones that insisted that they perform and record gimmick songs and novelty answer backs; and yet teenage girls were supposed to trust these men’s expertise. Ageism, racism, and sexism of the era often combined to keep these young women from being able to advocate for their own talents. \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eCareers were run by managers and label men who believed that the role of girls was relegated to fandom; to scream for Frankie Lyman, to scream for their Beatle, to scream for Dion. Their conception was that girls wouldn’t sell to other girls, no matter the image. They did not account for what girls see, they can be; girls as iconic to other girls is the very origin of this thing, but they also provide a sense of permission. Sometimes loving Frankie Lyman is not enough, and you want those screams for yourself. Girls were supposed to be the frenzy, not cause it. \u003cbr\u003e\u003cbr\u003eWe claim and reclaim these girls post-facto; in 2018 an awakened reconciliation for these talents, talents that were considered interchangeable to the point of disposability then, is progress. We read the stories again and again of names not even being right and try to root them out and, better still, know them. Even here, we have mystery girls, their identities lost to history (Will they ever hear their voices? What would it be to find yourself here decades later?) Often the only verifiable truth of the thing is the tape; the only history is what’s audible, what they conjure in those notes.\u003c\/p\u003e\n\u003cp\u003eWhat these girls gave in situations where there was no credit, little or no money, a finite chance. What they gave so fully are their voices and their talents, claiming this chance to harmonize along with their sisters, cousins, friends, classmates. To give it everything despite knowing what would likely elude them: credited by name, a chance to pursue opportunity with the same doggedness as the men in their backing band, dynamic material that reflected their lived experiences, the ability to make music the substance of their lives, their hope. Is that not the very definition of true artistry? To abandon the outcome and sing the song for the sheer sake of giving life to the thing? 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Washed out of the recording business by the age of 30, Jones and her then-husband\/manager James Hazley relocated to Tampa to work the hotel circuit and figure out what—if anything—was next. Following a chance encounter with Blair Mooney, Jones was invited to workshop a few stray originals at his Studio 70 compound in 1972. “He seemed to believe in me more than I did at the time,” Jones remembered of the Tampa studio impresario. 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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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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":"female-species-tale-of-my-lost-love","title":"Tale of My Lost Love","description":"\u003cp class=\"dropcap\"\u003eBehold the Female Species! 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Fifty-five years into their remarkable story, \u003cem\u003eTale Of My Lost Love\u003c\/em\u003e is the Gossetts’ debut album—an ode to what could have been, and still might be.\u003c\/p\u003e","brand":"Numero","offers":[{"title":"LP (Moonshine Color Vinyl)","offer_id":41296846323910,"sku":"NUM073lp-C2","price":27.0,"currency_code":"USD","in_stock":true},{"title":"LP","offer_id":40263310737606,"sku":"NUM073LP","price":25.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40263310704838,"sku":"NUM073digital","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/NUM073_FemaleSpecies_TaleOfMyLostLove_LP_Moonshine.jpg?v=1656377647"},{"product_id":"express-your-love-b-w-cry-love","title":"Express Your Love b\/w Cry Love","description":"A product of North Memphis’ segregated Dixie Homes housing complex, The Sweet \u0026amp; Innocent arrived during the Soulsville U.S.A. renaissance in the early ’70s. 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Our cover star is one of the decade’s most iconic artists, and someone we’ve had the pleasure of working with over the last six years as we developed our colossal Blondie: Against The Odds: 1974-1982 box set. Annapolis, Maryland, punk scene participant Andrew Gebhardt gives us a peak inside the hooligan culture of Reagan’s America through the lens of beloved early emo band The Hated. Aaron Cohen follows his exception work on T.L. Barrett’s I Shall Wear A Crown with an examination of the late Syl Johnson’s ongoings after his departure from Hi Records. Cold wave enthusiasts will find plenty to digest in articles about Scotland’s Vazz, Belgium’s Elisa Waut, and Isabelle Antena’s adventures with Martin Hayles. We’ve got Indian disco from Rupa, Tlingit yacht rock with Archie James Cavanaugh, and the Texan synth-funk of Jeff Phelps. Long-time contributor Jon Kirby returns to the fold with new insights on the making of Universal Togetherness Band’s wild “More Than Enough” video from 1982 (as recently sampled in Hot Chip’s blistering “Down” single). Fellow Numero lifer Blake Rhein (of Durand Jones \u0026amp; The Indications fame) had been threatening to go long on the Gary, Indiana, scene for years and found some time between tours to turn in a fascinating study on the criminally ignored Magic City. Not to be left out, Numero ten year survivor and resident long hair Adam Luksetich produced one of the most imaginative box sets in our nearly-20 year history in Bound For Hell on the Sunset Strip. We’ve excerpted Katherine Turman’s glittery liner notes from the 2xLP for those on the hair metal fence. 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Hailing from Tommy Falcones swarm, Beehive lead Vickie \u0026amp; The Van Dykes were the sound of the coming youth revolt—Vickie had rock ‘n’ roll in her bones and rawhide in her voice. ”I Wanna To Be a Winner,” and “Outcast.” were songs tailored to her rebellious personality.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBundle: Snag all three 45s in the Beehive Bundle - includes The Contessas, The Belles, and Vickie \u0026amp; The Van Dykes.\u003c\/strong\u003e\u003c\/p\u003e","brand":"Numero Group","offers":[{"title":"Green\/White Marble Vinyl","offer_id":42810461946054,"sku":"NUM728lp-C1","price":13.0,"currency_code":"USD","in_stock":true},{"title":"Black Vinyl","offer_id":42810461913286,"sku":"NUM728lp","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Color Bundle","offer_id":42836048937158,"sku":"BeehiveBundle-C1","price":29.0,"currency_code":"USD","in_stock":false},{"title":"Black Bundle","offer_id":42836048969926,"sku":"BeehiveBundle","price":27.0,"currency_code":"USD","in_stock":false},{"title":"Digital","offer_id":42810461978822,"sku":"NUM728digital","price":2.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/files\/NUM728lp-C1Vickie_TheVanDykes-IWannaBeaWinnerb_wOutcast7_Green_WhiteMarbleVinyl.png?v=1695845873"},{"product_id":"beehive-bundle","title":"Beehive Bundle","description":"\u003cp\u003eA bundle of 45s from The Contessas, The Belles, and Vickie \u0026amp; The Van Dykes - available in black or color vinyl.\u003c\/p\u003e\n\u003cp\u003eContains:\u003c\/p\u003e\n\u003cp\u003eThe Contessas - \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eBroken Heart b\/w Gimme Gimme \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThe Belles - \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eMelvin b\/w Come Back\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003eVickie \u0026amp; The Van Dykes - I Wanna Be a Winner b\/w Outcast\u003c\/span\u003e\u003c\/p\u003e","brand":"Numero Group","offers":[{"title":"Color Bundle","offer_id":42810540720326,"sku":"BeehiveBundle-C1","price":29.0,"currency_code":"USD","in_stock":false},{"title":"Black Bundle","offer_id":42810540785862,"sku":"BeehiveBundle","price":27.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/files\/BeehiveBundleColorProductShot.png?v=1695850744"},{"product_id":"beehive-breaks","title":"Beehive Breaks","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e15 Funky Honeys straight from the cone.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eA crate staple for any lover of feminine funk, \u003cem data-mce-fragment=\"1\"\u003eBeehive Breaks\u003c\/em\u003e gathers 15 sultry singles from across the Numero-verse. From Sandy Gaye’s \u003cem data-mce-fragment=\"1\"\u003eCruella\u003c\/em\u003e-synched “Watch The Dog That Brings The Bone” to James Brown’s soul sister #1 Marva Whitney, teenage girl gangs The Trinikas and Promise, Miami’s queen of soul Betty Wright, plus a previously unissued belter from Chicago’s Sonics Band, \u003cem data-mce-fragment=\"1\"\u003eBeehive Breaks\u003c\/em\u003e picks up where sister funk left off.\u003c\/p\u003e","brand":"Numero Group","offers":[{"title":"Honey Coated Colored Vinyl (Numero Exclusive)","offer_id":43044568006854,"sku":"NUM510lp-C2","price":27.0,"currency_code":"USD","in_stock":true},{"title":"Mr.Lucky Green Colored Vinyl","offer_id":43044568039622,"sku":"NUM510lp-C1","price":27.0,"currency_code":"USD","in_stock":true},{"title":"Black Vinyl","offer_id":43044568072390,"sku":"NUM510lp","price":25.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":43044568105158,"sku":"NUM510digital","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/files\/NUM510lp-c2D2C_1.png?v=1705621631"},{"product_id":"words-and-music","title":"Words And Music","description":"\u003cp dir=\"ltr\" style=\"text-align: left;\"\u003eWe've been teasing out new discoveries and unreleased Margo Guryan tracks for the last year or so and now it's time to let the cat out of the bag. We're beyond stoked to present Margo Guryan's Words And Music 3xLP Boxset.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: #050505; font-family: Palatino, Georgia; font-size: 14px; font-style: italic; font-variant-ligatures: normal; font-variant-caps: normal; letter-spacing: normal; text-align: center; text-indent: 0px; text-transform: none; word-spacing: 0px; -webkit-text-stroke-width: 0px; white-space: normal; background-color: #ffffff; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; display: inline !important; float: none;\"\u003eBonus: The Numerogroup.com Exclusive Sunday Morning Sun Color Vinyl 3xLP Boxset includes bonus Chopsticks Variation 10\" Vinyl limited to 500 copies.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\" style=\"text-align: left;\"\u003eWitness to revolutions in jazz and pop, Margo Guryan earned her place in the songwriting pantheon and then some. That she was largely unknown for decades is not the stuff of crushed dreams, but a result of her own choices and priorities. From humble beginnings to the peaks of her 1968 baroque pop masterpiece \u003ca href=\"https:\/\/numerogroup.com\/products\/take-a-picture\" rel=\"noopener\" target=\"_blank\"\u003e\u003cem style=\"font-style: italic;\"\u003eTake a Picture\u003c\/em\u003e\u003c\/a\u003e and the collected \u003ca href=\"https:\/\/numerogroup.com\/products\/28-demos\"\u003e\u003cem style=\"font-style: italic;\"\u003eDemos\u003c\/em\u003e \u003c\/a\u003eto the recent viral ubiquity of “\u003ca href=\"https:\/\/numerogroup.com\/products\/i-ought-to-stay-away-from-you-b-w-why-do-i-cry\" rel=\"noopener\" target=\"_blank\"\u003e\u003cspan style=\"color: #050505;\"\u003e\u003cspan style=\"text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;\"\u003e\u003cb\u003e\u003cu\u003eWhy Do I Cry\u003c\/u\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e”, \u003ca style=\"color: #050505; font-style: normal; font-weight: bold; text-decoration: underline;\" href=\"https:\/\/trk.klclick1.com\/ls\/click?upn=u001.xRaqAPWjlEQ9L4aktmCKX740iT6DhGwBz4YRzrU-2FX00Ngnl-2BWRgHi5G6jCBfpHDx3o5JMTDJG4-2BE2kS1aM4ENuAW-2B-2BqD8Pl8-2F45hTfWj5Kx-2BclXfG6yAG9RaQgo-2FCvJDOtQGUFkX8SEoc-2BZ6jDnmMw-3D-3DKSrG_aS4Gl4vt2mAozGRfidU8l-2BN1G9Sq7S1DlnNrwJdXvqLqY0AREz0b89hlSVEYCk2HdRv4lrn7lB6ZbI8tyW3Ysp744Mo2Du-2FWQVmc4T1tTEQR-2B80jmtc7rfVDMP5HIGoic8q-2Bi4ptrglZyxkJMyVpcdq7e7eFPWLUu-2BRgy3fOzn7CIue9iMyWZiqnMZMfJy-2Bzu7-2FZesjjWbYGU0pVLEMRjbg05xBEG2VVKBLpyrtUaz2PvFE9cV65s-2FZimiRV9P032GerWfTu5yLShwjm1HhUR6UmfC9Q2m0LhmM1RkD8KKyzpj7TrxM0ovrxNVhq0cVjvYJsDZmGx3wpHeFN80pA0euwf8rSY0ye57Tm9weYJgj7JYzM-2FBHhN5ZLrP6eAvFJwMF7qwE0SzbrsEU6V9jsVl9malU78iZ4545gaddQa9KO6ULGaev-2BnPohYKElS2HE5IWsVhqJqJ9T-2FYfgqY1ixw-3D-3D\" data-saferedirecturl=\"https:\/\/www.google.com\/url?q=https:\/\/trk.klclick1.com\/ls\/click?upn%3Du001.xRaqAPWjlEQ9L4aktmCKX740iT6DhGwBz4YRzrU-2FX00Ngnl-2BWRgHi5G6jCBfpHDx3o5JMTDJG4-2BE2kS1aM4ENuAW-2B-2BqD8Pl8-2F45hTfWj5Kx-2BclXfG6yAG9RaQgo-2FCvJDOtQGUFkX8SEoc-2BZ6jDnmMw-3D-3DKSrG_aS4Gl4vt2mAozGRfidU8l-2BN1G9Sq7S1DlnNrwJdXvqLqY0AREz0b89hlSVEYCk2HdRv4lrn7lB6ZbI8tyW3Ysp744Mo2Du-2FWQVmc4T1tTEQR-2B80jmtc7rfVDMP5HIGoic8q-2Bi4ptrglZyxkJMyVpcdq7e7eFPWLUu-2BRgy3fOzn7CIue9iMyWZiqnMZMfJy-2Bzu7-2FZesjjWbYGU0pVLEMRjbg05xBEG2VVKBLpyrtUaz2PvFE9cV65s-2FZimiRV9P032GerWfTu5yLShwjm1HhUR6UmfC9Q2m0LhmM1RkD8KKyzpj7TrxM0ovrxNVhq0cVjvYJsDZmGx3wpHeFN80pA0euwf8rSY0ye57Tm9weYJgj7JYzM-2FBHhN5ZLrP6eAvFJwMF7qwE0SzbrsEU6V9jsVl9malU78iZ4545gaddQa9KO6ULGaev-2BnPohYKElS2HE5IWsVhqJqJ9T-2FYfgqY1ixw-3D-3D\u0026amp;source=gmail\u0026amp;ust=1712961589155000\u0026amp;usg=AOvVaw3afdUOZ5xltqHrzWa_y7Cc\" rel=\"noopener\" target=\"_blank\"\u003e\u003cem style=\"font-style: italic;\"\u003eWords and Music\u003c\/em\u003e\u003c\/a\u003e captures the entirety of Guryan’s career, featuring 16 previously unreleased recordings and a 32-page booklet telling the whole story.\u003c\/p\u003e\n\u003cp dir=\"ltr\" style=\"text-align: left;\"\u003eGuryan released just one album in her heyday: 1968’s \u003ca href=\"https:\/\/numerogroup.com\/products\/take-a-picture\" rel=\"noopener\" target=\"_blank\"\u003e\u003cspan style=\"font-style: italic;\"\u003e\u003cspan style=\"color: #050505;\"\u003e\u003cspan style=\"text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;\"\u003e\u003cb\u003e\u003cu\u003eTake A Picture\u003c\/u\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e. But, as Margo was disinterested in performing, touring, and promoting the work, the album went barely noticed at the time. Nevertheless, by the 1990s, the record had become a highly sought after cult favorite. Then, a new generation of listeners came to learn about her work when \u003cspan style=\"font-weight: bold; font-style: italic;\"\u003e\u003ca href=\"https:\/\/numerogroup.com\/products\/take-a-picture\" rel=\"noopener\" target=\"_blank\"\u003eTake A Picture\u003c\/a\u003e\u003ca href=\"https:\/\/trk.klclick1.com\/ls\/click?upn=u001.xRaqAPWjlEQ9L4aktmCKX8FmFobhRNu-2BA7Tcg9RpG2zPMrBKlsZTC67FmSv39dXtCzccYhsCCgE7R6MZBdS7AVkGkCEOOWvB35qxYdjkcNntTGCebC7NpT3M8xThFTHPM-2FKUqJ4c7IEXvfFc5wZxbQ-3D-3DeMxq_aS4Gl4vt2mAozGRfidU8l-2BN1G9Sq7S1DlnNrwJdXvqLqY0AREz0b89hlSVEYCk2HdRv4lrn7lB6ZbI8tyW3Ysp744Mo2Du-2FWQVmc4T1tTEQR-2B80jmtc7rfVDMP5HIGoic8q-2Bi4ptrglZyxkJMyVpcdq7e7eFPWLUu-2BRgy3fOzn7CIue9iMyWZiqnMZMfJy-2Bzu7-2FZesjjWbYGU0pVLEMRjbg05xBEG2VVKBLpyrtUaz2PvFE9cV65s-2FZimiRV9P032GerWfTu5yLShwjm1HhUR25A1-2BKy5zkhQE7G1o87tJvcd-2BElo0ENQ19AZs5uo9ZEX7-2BihVWl5pmqD4krTtstevCyvtLyEZfkw2GqkUGkTVqZK7j5LzRdApLpLNclExSH9OibGrReqHAgIFNS-2BCU7bizKEMcXaevuSndn7uZMMLmGIOeJJelGNgtIparZQp3DzSJ0ZaU8v5PmLOflavpoyg-3D-3D\" data-saferedirecturl=\"https:\/\/www.google.com\/url?q=https:\/\/trk.klclick1.com\/ls\/click?upn%3Du001.xRaqAPWjlEQ9L4aktmCKX8FmFobhRNu-2BA7Tcg9RpG2zPMrBKlsZTC67FmSv39dXtCzccYhsCCgE7R6MZBdS7AVkGkCEOOWvB35qxYdjkcNntTGCebC7NpT3M8xThFTHPM-2FKUqJ4c7IEXvfFc5wZxbQ-3D-3DeMxq_aS4Gl4vt2mAozGRfidU8l-2BN1G9Sq7S1DlnNrwJdXvqLqY0AREz0b89hlSVEYCk2HdRv4lrn7lB6ZbI8tyW3Ysp744Mo2Du-2FWQVmc4T1tTEQR-2B80jmtc7rfVDMP5HIGoic8q-2Bi4ptrglZyxkJMyVpcdq7e7eFPWLUu-2BRgy3fOzn7CIue9iMyWZiqnMZMfJy-2Bzu7-2FZesjjWbYGU0pVLEMRjbg05xBEG2VVKBLpyrtUaz2PvFE9cV65s-2FZimiRV9P032GerWfTu5yLShwjm1HhUR25A1-2BKy5zkhQE7G1o87tJvcd-2BElo0ENQ19AZs5uo9ZEX7-2BihVWl5pmqD4krTtstevCyvtLyEZfkw2GqkUGkTVqZK7j5LzRdApLpLNclExSH9OibGrReqHAgIFNS-2BCU7bizKEMcXaevuSndn7uZMMLmGIOeJJelGNgtIparZQp3DzSJ0ZaU8v5PmLOflavpoyg-3D-3D\u0026amp;source=gmail\u0026amp;ust=1712961589155000\u0026amp;usg=AOvVaw0CL4mcIeneYHFRPQWzc3CL\" rel=\"noopener\" target=\"_blank\"\u003e\u003c\/a\u003e\u003c\/span\u003e was reissued in 2000, followed shortly thereafter by the collected \u003ca href=\"https:\/\/numerogroup.com\/products\/28-demos\" rel=\"noopener\" target=\"_blank\"\u003e\u003cspan style=\"color: #050505;\"\u003e\u003cspan style=\"text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;\"\u003e\u003cb\u003e\u003cu\u003e27 Demos\u003c\/u\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e, supervised by Margo herself, an incredible compilation of unearthed alternate takes and new-to-the-public songs. Guryan’s life in the intervening years remained filled with music; she became a music teacher, kept writing songs, and cultivated friendships with a growing circle of acolytes.\u003c\/p\u003e\n\u003cp dir=\"ltr\" style=\"text-align: left;\"\u003eHer early tunes were recorded by bebop pioneer \u003cspan style=\"font-weight: bold;\"\u003eDizzy Gillespie\u003c\/span\u003e, bossa nova icon \u003cspan style=\"font-weight: bold;\"\u003eAstrud Gilberto\u003c\/span\u003e, the famed South African singer and activist \u003cspan style=\"font-weight: bold;\"\u003eMiriam Makeba\u003c\/span\u003e, and folk hero \u003cspan style=\"font-weight: bold;\"\u003eHarry Belafonte\u003c\/span\u003e. Jazz singers \u003cspan style=\"font-weight: bold;\"\u003eAnita O'Day\u003c\/span\u003e and \u003cspan style=\"font-weight: bold;\"\u003eCarmen McRae\u003c\/span\u003e all released takes on her material, as did pop singer \u003cspan style=\"font-weight: bold;\"\u003eClaudine Longet\u003c\/span\u003e and folk-rock icon \u003cspan style=\"font-weight: bold;\"\u003eMama Cass Elliot\u003c\/span\u003e. \"\u003ca style=\"color: #050505; font-style: normal; font-weight: bold; text-decoration: underline;\" href=\"https:\/\/trk.klclick1.com\/ls\/click?upn=u001.xRaqAPWjlEQ9L4aktmCKX740iT6DhGwBz4YRzrU-2FX01q9sCVUg3r7OubX4vGeotXDJZIouOUkNQNJQurMPJj1-2FHEVZzg8QYzHSIKywwS9IF6Tb47exiPcYnG5mE7LC0iCpNG_aS4Gl4vt2mAozGRfidU8l-2BN1G9Sq7S1DlnNrwJdXvqLqY0AREz0b89hlSVEYCk2HdRv4lrn7lB6ZbI8tyW3Ysp744Mo2Du-2FWQVmc4T1tTEQR-2B80jmtc7rfVDMP5HIGoic8q-2Bi4ptrglZyxkJMyVpcdq7e7eFPWLUu-2BRgy3fOzn7CIue9iMyWZiqnMZMfJy-2Bzu7-2FZesjjWbYGU0pVLEMRjbg05xBEG2VVKBLpyrtUaz2PvFE9cV65s-2FZimiRV9P032GerWfTu5yLShwjm1HhUR16iCp5CaANb2wkFYy16ND4hIBVjKQeP0kXPYgwG6xHfYgWzJikW61WCoPJdLzgKPGjFw9qRJ0oWyzRABaycRtx3nXwJB9Fp4K6-2Bi0p25L4pWUBThjo2EFHt1Jq7yFLM6cQb5aHy64WolZMr54NEQOaeFnWhrzJN-2B-2B1QZ-2BArBLeIszDzSLXDxofXLEVpf4950Q-3D-3D\" data-saferedirecturl=\"https:\/\/www.google.com\/url?q=https:\/\/trk.klclick1.com\/ls\/click?upn%3Du001.xRaqAPWjlEQ9L4aktmCKX740iT6DhGwBz4YRzrU-2FX01q9sCVUg3r7OubX4vGeotXDJZIouOUkNQNJQurMPJj1-2FHEVZzg8QYzHSIKywwS9IF6Tb47exiPcYnG5mE7LC0iCpNG_aS4Gl4vt2mAozGRfidU8l-2BN1G9Sq7S1DlnNrwJdXvqLqY0AREz0b89hlSVEYCk2HdRv4lrn7lB6ZbI8tyW3Ysp744Mo2Du-2FWQVmc4T1tTEQR-2B80jmtc7rfVDMP5HIGoic8q-2Bi4ptrglZyxkJMyVpcdq7e7eFPWLUu-2BRgy3fOzn7CIue9iMyWZiqnMZMfJy-2Bzu7-2FZesjjWbYGU0pVLEMRjbg05xBEG2VVKBLpyrtUaz2PvFE9cV65s-2FZimiRV9P032GerWfTu5yLShwjm1HhUR16iCp5CaANb2wkFYy16ND4hIBVjKQeP0kXPYgwG6xHfYgWzJikW61WCoPJdLzgKPGjFw9qRJ0oWyzRABaycRtx3nXwJB9Fp4K6-2Bi0p25L4pWUBThjo2EFHt1Jq7yFLM6cQb5aHy64WolZMr54NEQOaeFnWhrzJN-2B-2B1QZ-2BArBLeIszDzSLXDxofXLEVpf4950Q-3D-3D\u0026amp;source=gmail\u0026amp;ust=1712961589156000\u0026amp;usg=AOvVaw2TpXFT6yXz0G5XcFsOqvMx\" rel=\"noopener\" target=\"_blank\"\u003e\u003cspan style=\"font-weight: bold;\"\u003eSunday Morning\u003c\/span\u003e\u003c\/a\u003e,\" Margo's biggest hit, was first popularized by soft-rockers \u003cspan style=\"font-weight: bold;\"\u003eSpanky \u0026amp; Our Gang\u003c\/span\u003e, followed by recordings from torch singer Julie London and country royalty \u003cspan style=\"font-weight: bold;\"\u003eGlen Campbell\u003c\/span\u003e and \u003cspan style=\"font-weight: bold;\"\u003eBobbie Gentry\u003c\/span\u003e. In 1967, Billboard called Margo \"one of the most sought-after writing talents in the music business.\"\u003c\/p\u003e\n\u003cp dir=\"ltr\" style=\"text-align: left;\"\u003eBorn in 1937 in New York City, Guryan began learning piano at age six before eventually enrolling at Boston University to study music. She spent much of her early career immersed in the jazz world, including working for \u003cspan style=\"font-weight: bold;\"\u003eImpulse!\u003c\/span\u003e founder \u003cspan style=\"font-weight: bold;\"\u003eCreed Taylor\u003c\/span\u003e, writing for jazz artists, and attending Lenox School of Jazz in Western Massachusetts, where she worked in an ensemble alongside fellow students \u003cspan style=\"font-weight: bold;\"\u003eOrnette Coleman\u003c\/span\u003e and \u003cspan style=\"font-weight: bold;\"\u003eDon Cherry\u003c\/span\u003e. Her peers were, at that very moment, exploding the consciousness of jazz. Margo, a then-recent graduate in composition, had once been told that the highest mode of education is perception. So she mostly lingered and listened. It was at Lenox where Margo became friends with her teacher, \u003cspan style=\"font-weight: bold;\"\u003eMax Roach\u003c\/span\u003e, who in 1961 even asked Margo to pen the liner notes for his first Impulse! album.\u003c\/p\u003e\n\u003cp dir=\"ltr\" style=\"text-align: left;\"\u003eThe story of Margo Guryan is one of a woman who dug deep from an early age and was never afraid to change. With her keen feel for tone, phrasings, tension, presence, and lyrics that cut, her name today is synonymous with sophisticated songcraft and inimitable 1960s cool.Her ingenuity and technique set her in the tradition of chamber-pop icons like \u003cspan style=\"font-weight: bold;\"\u003eBrian Wilson\u003c\/span\u003e and \u003cspan style=\"font-weight: bold;\"\u003eBurt Bacharach\u003c\/span\u003e while the bittersweet candor in her depictions of womanhood suggest a middleground between \u003cspan style=\"font-weight: bold;\"\u003eCarole King\u003c\/span\u003e's pop-factory and singer-songwriter eras. But the understated rigor of Margo's artistic voice is all her own.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/files\/margo_front.png?v=1712359339\" alt=\"\"\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cimg data-mce-fragment=\"1\" alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/files\/margo_yellow_vinyl.png?v=1712359339\"\u003e\u003cimg data-mce-fragment=\"1\" alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/files\/margo_back.png?v=1712359339\"\u003e\u003cimg data-mce-fragment=\"1\" alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/files\/margo_inners.png?v=1712359337\"\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"Margo Guryan","offers":[{"title":"Sunday Morning Sun Vinyl (Numero Exclusive)(3xLP Boxset)","offer_id":43356690219206,"sku":"NUM085lp-C1","price":66.0,"currency_code":"USD","in_stock":false},{"title":"Think Of Rain Vinyl (3xLP Boxset)","offer_id":43356690251974,"sku":"NUM085lp-C2","price":66.0,"currency_code":"USD","in_stock":true},{"title":"Black Vinyl (3xLP Boxset)","offer_id":43356690284742,"sku":"NUM085lp","price":60.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":43356690317510,"sku":"NUM085cd","price":30.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":43356690350278,"sku":"NUM085digital","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/files\/num085_v1_color1.png?v=1712355745"},{"product_id":"take-a-picture","title":"Take A Picture","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eTake A Picture\u003c\/em\u003e\u003cspan\u003e is Margo Guryan’s one and done classic — one of record collecting’s real unheralded masterpieces — bright, breezy, lightly psychedelic, and utterly cosmopolitan, recorded in New York City no less. Newly restored by Jessica Thompson from the original two-track safety masters, this beguilingly melodic 1968 pop tour-de-force has never sounded better.\u003c\/span\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"Margo Guryan","offers":[{"title":"Love Songs Marbled Maroon Vinyl (Numero Exclusive)","offer_id":43847613481158,"sku":"NUM608lp-C1","price":27.0,"currency_code":"USD","in_stock":true},{"title":"Sun Gold Opaque Vinyl","offer_id":43847613513926,"sku":"NUM608lp-C2","price":27.0,"currency_code":"USD","in_stock":true},{"title":"Black Vinyl","offer_id":43847613546694,"sku":"NUM608lp","price":25.0,"currency_code":"USD","in_stock":false},{"title":"Digital","offer_id":43847613579462,"sku":"NUM5283digital","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/files\/NUM608_MargoGuryan_TakeAPicture_MarbleMarron.png?v=1718208171"},{"product_id":"horizon-unlimited","title":"Horizon Unlimited","description":"\u003cp\u003eGet out! Fight!” The Lijadu Sisters’ \u003cem\u003eHorizon Unlimited\u003c\/em\u003e is the insurgent afrofunk their second cousin Fela strived to create. Soulful, psychedelic, feminist, and revolutionary music already known worldwide, finally available again after a decade with The Lijadus’ approval and deep involvement.\u003c\/p\u003e\n\u003cp\u003e“The Nigerian twins who fought the elite with funk” - \u003cstrong\u003eThe Guardian\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400; font-family: Arial, sans-serif; font-size: 14px;\"\u003e\"Trailblazers whose influence spans many genres and generations. From David Byrne to Nas...The Lijadu Sisters helped lay the foundation for African music's global resonance today\u003c\/span\u003e\u003cspan style=\"font-weight: 400; font-style: italic; font-family: Arial, sans-serif; font-size: 14px;\"\u003e\" \u003cspan style=\"font-family: Arial, 'Helvetica Neue', Helvetica, sans-serif; font-weight: bold; font-style: normal;\"\u003e- \u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 14px; font-family: Arial, 'Helvetica Neue', Helvetica, sans-serif; font-weight: bold; font-style: normal;\"\u003eRolling Stone\u003c\/span\u003e\u003cspan style=\"font-size: 14px; font-family: Arial, 'Helvetica Neue', Helvetica, sans-serif; font-weight: bold; font-style: normal;\"\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 14px; font-family: Arial, 'Helvetica Neue', Helvetica, sans-serif; font-weight: bold; font-style: normal;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cspan style=\"font-family: Palatino, 'Palatino Linotype', 'Palatino LT STD', 'Book Antiqua', Georgia, serif; font-weight: 400; font-style: normal;\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-style: italic; font-family: Arial, sans-serif;\"\u003e“I think one of the most exciting things about the reintroduction of \u003c\/span\u003e\u003cspan style=\"font-family: Arial, sans-serif;\"\u003eHorizon Unlimited\u003c\/span\u003e\u003cspan style=\"font-style: italic; font-family: Arial, sans-serif;\"\u003e is the fact that young folk love our music, and are surprised at the upbeat tempo, and the lyrics, which are not only of today, but also very futuristic as well. \u003c\/span\u003e\u003cspan style=\"font-family: Arial, sans-serif;\"\u003eHorizon Unlimited\u003c\/span\u003e\u003cspan style=\"font-style: italic; font-family: Arial, sans-serif;\"\u003e was our last album with Decca that came out in 1979. It’s been a long time since then and this really is part of a much longer story, but amongst one of the most significant things I remember was that we, The Lijadu Sisters, paid for all the studio and band session fees. At the time, this was unusual, and not the arrangement we had with that record label. We were originally meant to record at Decca West Africa in Lagos, but when we got to the studio, no one had told us that it was being upgraded – from eight tracks to twenty-four. So, we brought everyone to London and made the album there instead.”\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan style=\"font-weight: bold; font-family: Arial, sans-serif; font-size: 14px;\"\u003e–Yeye Taiwo Lijadu\u003c\/span\u003e\u003c\/div\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cdiv\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-weight: bold; font-family: Arial, sans-serif;\"\u003eThe Lijadu Sisters\u003c\/span\u003e\u003cspan style=\"font-family: Arial, sans-serif;\"\u003e and \u003c\/span\u003e\u003cspan style=\"font-weight: bold; font-family: Arial, sans-serif;\"\u003eNumero Group \u003c\/span\u003e\u003cspan style=\"font-family: Arial, sans-serif;\"\u003eare thrilled to announce an expansive new partnership that is equal parts reissue and reparation: a celebration and critical reappraisal for the musical and political impact of two iconic artists who have influenced and uplifted generations and a long-over due look back at their legendary career. As one of the only women-led acts making music at the outset of Nigeria’s national independence and cultural golden age, identical twin sisters \u003c\/span\u003e\u003cspan style=\"font-weight: bold; font-family: Arial, sans-serif;\"\u003eYeye Taiwo Lijadu\u003c\/span\u003e\u003cspan style=\"font-family: Arial, sans-serif;\"\u003e and the late \u003c\/span\u003e\u003cspan style=\"font-weight: bold; font-family: Arial, sans-serif;\"\u003eKehinde Lijadu\u003c\/span\u003e\u003cspan style=\"font-family: Arial, sans-serif;\"\u003e released five imperative albums in the 1970s who's sounds and influence managed to prevail now for 50+ years. T\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-family: Arial, sans-serif;\"\u003ehe singular power of their harmonic singing, pioneering sound and trailblazing vision led to tours with \u003c\/span\u003e\u003cspan style=\"font-weight: bold; font-family: Arial, sans-serif;\"\u003eDavid Byrne\u003c\/span\u003e\u003cspan style=\"font-family: Arial, sans-serif;\"\u003e, inspired the work of fans like \u003c\/span\u003e\u003cspan style=\"font-weight: bold; font-family: Arial, sans-serif;\"\u003eAmaarae\u003c\/span\u003e\u003cspan style=\"font-family: Arial, sans-serif;\"\u003e, \u003c\/span\u003e\u003cspan style=\"font-weight: bold; font-family: Arial, sans-serif;\"\u003eAyra Starr\u003c\/span\u003e\u003cspan style=\"font-family: Arial, sans-serif;\"\u003e, \u003c\/span\u003e\u003cspan style=\"font-weight: bold; font-family: Arial, sans-serif;\"\u003eHayley Williams\u003c\/span\u003e\u003cspan style=\"font-family: Arial, sans-serif;\"\u003e, \u003c\/span\u003e\u003cspan style=\"font-weight: bold; font-family: Arial, sans-serif;\"\u003eJamie xx\u003c\/span\u003e\u003cspan style=\"font-family: Arial, sans-serif;\"\u003e and \u003c\/span\u003e\u003cspan style=\"font-weight: bold; font-family: Arial, sans-serif;\"\u003eNas\u003c\/span\u003e\u003cspan style=\"font-family: Arial, sans-serif;\"\u003e, and has cultivated a growing audience of hundreds of thousands of online listeners eager for more. \u003c\/span\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e \u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-family: Arial, sans-serif;\"\u003eBeginning September 20th, 2024, with the release of a remastered, restored and revelatory edition of 1979’s \u003c\/span\u003e\u003ca href=\"https:\/\/lnk.to\/HorizonUnlimited\"\u003e\u003cspan style=\"font-weight: bold; font-style: italic; font-family: Arial, sans-serif;\"\u003eHorizon Unlimited\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-family: Arial, sans-serif;\"\u003e, the album that produced an indelible hit in \u003c\/span\u003e\u003cspan style=\"font-weight: bold; font-family: Arial, sans-serif;\"\u003e“Come On Home,”\u003c\/span\u003e\u003cspan style=\"font-family: Arial, sans-serif;\"\u003e The Lijadu Sisters and Numero Group launch a multi-year, multi-record campaign to finally bring the duo’s entire discography to the masses. In addition to amending the material’s history of misuse, Numero Group will reissue each of the band’s LPs, as well as a collection of rediscovered, previously unavailable singles, promo EPs and rare recordings that the label has worked to unearth and soon debut in the West. \u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-family: Arial, sans-serif;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-family: Arial, sans-serif;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eAlso Available: Limited The Lijdadu Sisters Merch: \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBonus Discount 15% off automatically in cart when bundling any The Lijadu Sisters merch and vinyl or CDs. \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cimg height=\"516\" width=\"516\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/files\/LijaduSisters_BlackTee_Shrunk_d10b1249-e5f5-450a-adcf-f42eac2ede2d.png?v=1719953546\" alt=\"\"\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/files\/TheLijaduSisters_Hats07-removebg-preview_1_aa8dc113-8d21-4866-a9e3-a3a24c44576d.png?v=1719947210\" alt=\"\"\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"The Lijadu Sisters","offers":[{"title":"Patina Colored Vinyl (Numero Exclusive)","offer_id":43923095224518,"sku":"NUM653lp-C1","price":27.0,"currency_code":"USD","in_stock":false},{"title":"Horizon Unlimited Green Vinyl","offer_id":43923095257286,"sku":"NUM653lp-C2","price":27.0,"currency_code":"USD","in_stock":true},{"title":"Black Vinyl","offer_id":43923095290054,"sku":"NUM653lp","price":25.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":43923104727238,"sku":"NUM653cd","price":14.0,"currency_code":"USD","in_stock":false},{"title":"Digital","offer_id":43923095322822,"sku":"NUM5290digital","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/files\/NUM653lp-C1_Mockup.png?v=1719953597"},{"product_id":"take-a-picture-t-shirt","title":"Take A Picture T-shirt","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eImagine all the pictures people will want to take with you wearing this ultra creamy, super soft Comfort Colors tee with Margo smoking depicted. You are not even remotely this cool—the shirt will help.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003ePrinted on Comfort Colors T-shirts\u003c\/p\u003e\n\u003c!----\u003e","brand":"Margo Guryan","offers":[{"title":"Small","offer_id":43983285715142,"sku":"NUM608-T01-S","price":30.0,"currency_code":"USD","in_stock":false},{"title":"Medium","offer_id":43983285747910,"sku":"NUM608-T01-M","price":30.0,"currency_code":"USD","in_stock":true},{"title":"Large","offer_id":43983285780678,"sku":"NUM608-T01-L","price":30.0,"currency_code":"USD","in_stock":true},{"title":"XLarge","offer_id":43983285813446,"sku":"NUM608-T01-XL","price":30.0,"currency_code":"USD","in_stock":true},{"title":"XXLarge","offer_id":43983285846214,"sku":"NUM608-T01-XXL","price":30.0,"currency_code":"USD","in_stock":true},{"title":"XXXLarge","offer_id":43983285878982,"sku":"NUM608-T01-XXXL","price":30.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/files\/MargoGuryan_TakeAPicture_Mock.png?v=1721935732"},{"product_id":"barnyard-beehive","title":"Barnyard Beehive","description":"\u003cp\u003eYou know Dolly, Loretta, Tammy, and Bobbie—but what about Joyce, Mona, Cathy or Judy? Barnyard Beehive lassos 16 Opry hopefuls from across the Numeroverse, corralling the timeless tropes of heartbreak, trouble, and the bottle into one 12\" pen.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Numero Group","offers":[{"title":"Chocolate Covered Strawberry Splash Vinyl (Numero Exclusive)","offer_id":44242053365958,"sku":"NUM575lp-C1","price":27.0,"currency_code":"USD","in_stock":true},{"title":"Pink Clear Vinyl","offer_id":44242053398726,"sku":"NUM575lp-C2","price":27.0,"currency_code":"USD","in_stock":true},{"title":"Black Vinyl","offer_id":44242053464262,"sku":"NUM575lp","price":25.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":44242053431494,"sku":"NUM575digital","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/files\/qykWZ0Lgvg64C0Dw7VKnMMOuhwf0_p02BQ1BVwRwWFQ.png?v=1731691039"},{"product_id":"28-demos","title":"28 Demos","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eWhen not gazing out windows into the stormy Manhattan skyline, Margo Guryan spent her thirties banging out earworms for the likes of Bobbie Gentry, Jackie DeShannon, Claudine Longet, Carmen McCrae, and Julie London at CBS’s April Blackwood Music. 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