{"title":"West Coast Direct 2 U Sale","description":"","products":[{"product_id":"eccentric-soul-the-capsoul-label","title":"The Capsoul Label","description":"\u003cp\u003eWhere everything Numero begins. Three guys in a purple Saturn station wagon drove down to Columbus, Ohio, and came back to Chicago with a lost label—the rest is history. In the early ’70s, Bill Moss’ Capsoul imprint could barely break wind in the larger music marketplace, and yet today the label’s output can stand shoulder-to-shoulder with any classic soul of its era. Isolated in central Ohio and lacking the funds to back them, groups like the Four Mints and Johnson, Hawkins, Tatum \u0026amp; Durr might’ve easily withstood ten rounds against the Temptations, Smokey, or Otis. The scrappy Capsoul writing team of Dean Francis, Jeff Smith, and Norman Whiteside would’ve gone blow-for-hook-filled-blow with any Gamble \u0026amp; Huff or Holland\/Dozier\/Holland cared to throw at them. From Bill Moss’ civil rights meditation “Sock It To ‘Em Soul Brother” to Marion Black’s future hit about the future “Who Knows” to Kool Blues bounding “I’m Gonna Keep on Loving You,” Eccentric Soul: The Capsoul Label remains dollar-for-dollar the best soul compilation of its century and the perfect primer for anyone piqued by the Eccentric Soul series.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp class=\"dropcap\"\u003eAs the capital of arguably the most soulful state in the nation, Columbus, Ohio is remarkably unassuming. Just south of the rust belt and barely above the Mason-Dixon, it is surrounded by the fertile crescent of American R\u0026amp;B. Propped up culturally and economically by the largest university in the country, it had neither the boom nor the bust of nearby meccas Detroit and Memphis. Columbus was a stable burg where talent could flourish unmolested by the prospect of stardom, a the perfect environment in which idiosyncratic, eccentric soul music could thrive.\u003c\/p\u003e\n\u003cp\u003eCapsoul, short for Capital City Soul, released in its five short years only a dozen 45's and one highly-sought-after LP but managed to score several regional smashes and one national hit before collapsing under the weight of its own debt and hubris. The catalog languished afterward in a sort of limbo, too obscure to find new life on oldies and dusties stations or on Time-Life collections, but too common to attract serious interest from collectors of rare soul. But 30 years after it ceased to exist, the Capsoul label would rediscover its original audience, lying in wait somewhere between the mainstream and the underground.\u003c\/p\u003e\n\u003cp\u003eThe roots of Capsoul sprouted in 1966, during Bill Moss’s tenure as a popular DJ at WVKO Columbus. Moss pooled the resources of a few low rollers around town to launch the short-lived Nassau label, a tribute to his native Bahamas. Right out of the gates, “Ooo-Poo-Pa-Doo” b\/w “East 24th Ave” by Billy Graham and the Escalators was picked up by Atlantic Records, where it promptly fizzled. The second release on the starkly pink label would yield better results. Moss met a young singer named Ronnie Taylor who’d had recording success already as a member of the Four Pharaohs, themselves hit makers for Cincinnati’s King label and the local Ransom imprint. Taylor recorded a dazzling double-sider, “Without Love” backed with “I Can’t Take It,” which soon attracted interest outside the capital, this time with Lebaron Taylor’s Revilot label, who was currently hitting with The Parliaments, Darrell Banks, and The Holidays. Taylor’s record managed to chart with this higher profile release, but neither Moss nor Taylor ever saw any money from the release, which would begin an unfortunate trend for Moss’s productions. Before folding the label, Moss would take a last crack with “Memories Are Made Of This,” his debut as an artist, but an unfortunate and mediocre crooner.\u003c\/p\u003e\n\u003cp\u003eMoss’s next endeavor partnered him with local promoter Jim Justus to form another small imprint, the Holiday label. Its first two singles, issued in 1968, were by the same group under two different names. Both the Vondors and the Soul Partners were made up of Jay Almon, Jimmy Norbit, Ron Farthing, Roscoe Almon, Ronnie Threatt, \u0026amp; L.A. Almon. “Walk On Judge” by the Soul Partners charted locally, giving Moss the confidence to use his WVKO clout and shove the single into the hands of Larry Uttal at Bell. Uttal picked up the 45 and even went so far as to bankroll the next Soul Partners single. Moss used this relationship to distribute his next two efforts as a solo artist, a pair of singles that matched his positive approach. Banking less on his vocal chops than on charisma and charm, both “Sock It To ‘Em Soul Brother” and “Number One” were triumphs. The former, a tribute to African-American leadership, had inherent attraction to the black radio culture that was peaking nationwide. The latter, a surprisingly irresistible “father’s lecture” set to music, may not have hit number one, but it did chart nationally. Bill Moss, however, never saw a dime, and after Bell refused to even pay for the studio time, he pulled the masters and ended the relationship.\u003c\/p\u003e\n\u003cp\u003eBefore the Soul Partners channeled their success at Bell into national tours and deals with Scepter and, later, Utopia and Rainbow Collection, they backed one last session in 1969 for an up-and-coming vocal group, the Four Mints. James Brown, Louis Dotley, Bobby Shank, Herschel Davis, and James Spencer started out at East High in 1955 as the Five Mints, but by the time of their Musicol session, the Five had been whittled down to one. Joining Brown on the sublime ballad “You’re My Desire,” and its flip “You’ll Want To Come Back,” was doo-wop floater Ben Caldwell, Timeless Legend brother Jimmy Harmon, and Donald Russell. The 45 was strong opening salvo to an impressive recording career, but it failed to attract much attention.\u003c\/p\u003e\n\u003cp\u003eBy 1970, Bill Moss had tired of his work as a DJ and regional promoter and decided to give the label business one more try. His last-hurrah act at WVKO took the form of a talent show, a surreptitious recruitment drive for his nascent brand. All the most important local musicians of the era competed, but it was dark horse Marion Black who stole the show with his heart-wrenching performance of “Go On Fool”—later to appear as the first single on the Capsoul label. Sales skyrocketed in every city that gave it airplay. Although most deejays preferred the vastly superior B-side “Who Knows,” AVCO\/Embassy licensed the single and issued promotional copies with only “Go On Fool” on it. Nationally, “Who Knows” would ultimately be ignored.\u003c\/p\u003e\n\u003cp\u003eStill, that tiny morsel of success gave Moss a taste for the real thing. With a small chunk of cash and the help of a couple Ohio State engineering students, Moss built a small studio at 3504 N. High Street, which quickly became home base to a bright team of musicians and songwriters hungry for a shot. Audiophile and chronic record store employee Jeff Smith would scratch out songs on guitar. Dean Francis, already known for his locally released single “Funky Disposition,” played drums and quickly grew as a star songwriter. Moss imported the now legendary Billy Wooten from Indiana to play vibraphone. Frank LaRue, a University violin teacher created all the Capsoul string arrangements with the help of some of his best students. Dwight Cartier, Steve Taylor, and Terry Wilkes filled out the bass, keys, and rhythm guitar. And Bill’s fledging company got a boost when he was able to secure a $30,000 loan from City National Bank. Moss had taken care of the money, the music, and the management. All he needed now was raw talent.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eVirgil Johnson, Al Dawson, Willie Tatum, and Norris Durr were a group of neighborhood kids who called themselves the Revelations. Prompted by a friend, Moss decided to give them an audition. What they sang that day was anything but a revelation, but those voices were right on. Liking the ring that Crosby, Stills, Nash \u0026amp; Young had coming off the tongue, Moss re-christened the group Johnson, Dawson, Tatum \u0026amp; Durr. A few weeks later he would absent-mindedly swap “Dawson” for “Hawkins” while laying out the labels for their first single, “You Can’t Blame Me,” accidentally renaming them for a third time. If you haven’t heard it yet, stop reading right now and drown yourself in pure liquid soul. Moody, complex, dark, with a shockingly unique falsetto lead courtesy of Virgil Johnson and a proto-hip-hop bass line beat that grooves like a bus on speed bumps, “You Can’t Blame Me” is tense and intense. The flip, “Your Love Keeps Drawing Me Closer,” made a dent on the soul dance scene but couldn’t touch the impact of the a-side. Few records could. It was played everywhere and went to number one throughout the Midwest and up and down the eastern seaboard. While crucial cities such as Chicago and New York overlooked it, sales in places like Baltimore, Philadelphia, and Cleveland were massive.\u003c\/p\u003e\n\u003cp\u003eThe success of that first single was no mystery. Virgil Johnson’s hypnotic and unsettling lead was the linchpin of its popularity. Unfortunately, Virgil knew it as well as anyone else. After their second single, “You’re All I Need to Make It” b\/w “A World Without You” was in the can, Virgil was ready for the big time and Capsoul, he figured, wasn’t getting him there fast enough. One very heated confrontation later, Johnson was thrown off the roster. Pride-bound, he immediately moved to Los Angeles, where he encountered the hard truth of his own insignificance. One of a million singers trying to get a gig in the big city, he was forced to return to Ohio just a few years later and has, as far as anyone can tell, never recorded again.\u003c\/p\u003e\n\u003cp\u003eBeginning a trend of recycling instrumental tracks, Moss retroactively filled a hole in the catalog between “Go On, Fool” and “You Can’t Blame Me” with a single by the generically named Capsoul Group. Moss snagged the instrumental to his second Bell single, “Number One,” and tacked it on to the string heavy instrumental to “You’re All I Need To Make It,” but the two sides couldn’t have come from further places. The a-side was backed by a gaggle of hourly session men, but its flip was a product of the scrappy group of amateurs and semi-pros plying their trade at 3504 N. High. \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThe instrumental to “Sock It To ‘Em Soul Brother” was also revived after Moss licensed “Pure Soul” from the South Carolina group Elijah \u0026amp; the Ebonites. Lead by Elijah Hawthorne, the original release of the song appeared on their own Superior label and featured a cover of “Yes I’m Ready” by Barbara Mason on the flip. As Moss wasn’t fond of releasing cuts he didn’t publish, he slapped “Soul Brother” on the other side and issued it on the Loren imprint, named for his first son.\u003c\/p\u003e\n\u003cp\u003eIn the wake of “You Can’t Blame Me,” pressure was on Capsoul to deliver hits. City National loomed in the rearview mirror on every out-of-town promotion junket. Hoping to change his fortunes, Moss produced and issued a barrage of singles. The Enticers, another vocal group from the WVKO talent show, had by then narrowed their line-up to a duo, Tennessee natives John Primm and William Gilbert, and were known as the Kool Blues. Their first single, “Why Did I Go,” was from the pen of Dana Middleton and Jeff Smith and would later be retread by the Four Mints. “I’m Gonna Keep On Loving You”—which draws inspiration from the duo’s home state heroes at Stax—was penned with the help of young upstart Norman Whiteside, a hanger-on around the Capsoul studio. Whiteside later formed the band Wee and recorded an LP that—along with the Four Mints’ \u003ca href=\"http:\/\/www.numerogroup.com\/products\/four-mints-gently-down-your-stream\"\u003e\u003cem\u003eGently Down Your Stream\u003c\/em\u003e\u003c\/a\u003e LP and Timeless Legend’s \u003cem\u003eSynchronized\u003c\/em\u003e LP—are considered the finest soul albums in Columbus history. While it’s absurd that the single was ignored, the b-side saw life again years later on the northern soul scene. Their second single featured two excellent ballads: “Can We Try Love Again,” a funky, mid-tempo rug slasher, was backed by the eerie, contemplative “I Want to Be Ready.” Among the last singles on the Capsoul label, it barely even attracted the marginal attention of its predecessor.\u003c\/p\u003e\n\u003cp\u003eWhile Moss recovered from Johnson, Hawkins, Tatum \u0026amp; Durr’s break-up, he was able to re-unite with the Four Mints, then eager to enter the studio again. Without much difficulty, “Row My Boat,” written specifically for the group by Dean Francis, went to the top of the local charts. A timeless single, the song interpolates elements of the nursery rhyme “Row Your Boat” into the melody. Lead singer Ben Caldwell’s breathtaking vocal range, somewhere between a caramel tenor and a pure sugar falsetto, was a perfect recipe for the soul style of the moment. Though originally issued on Capsoul, this single also has a scarcer alternate pressing on Loren.\u003c\/p\u003e\n\u003cp\u003e1973 was the year of Four Mints, with a total of three singles emerging, the largest output for the label thus far. “Can’t Get Strung Out” saw two pressings, the first with “In A Rut” on the flip, the second issue with the Mints’ take on “Why Did I Go.” They closed out the year with a reissue of their Holiday single, which fared better this time, boosted by the Capsoul imprint’s new notoriety. This surge in extraordinary output, however, wasn’t enough to save the label from receivership, despite one more close call that nearly put the books in the black. While on the road in Memphis promoting the singles, Bill Moss and Four Mints founder James Brown heard breaking news that Al Green had been hospitalized after being scalded by hot grits. Inspired, they raced back to Columbus to resurrect “Pure Soul” by Elijah \u0026amp; the Ebonies as “Hot Grits!!!” It was re-re-released on Capsoul and found life via novelty appeal throughout the south.\u003cbr\u003e \u003cbr\u003e The final Capsoul release would be the Four Mints only album, Gently Down Your Stream, a collection of their 45’s plus one leftover, “Too Far Gone,” another Dean Francis masterpiece. Neglecting to issue this as a single may have been one of Capsoul’s greatest errors; it stands with “Row My Boat” as the Mints’ finest recorded moment. The album’s release did nothing but showcase the exceptional output of this vocal group, though its scarcity today indicates that sales never even exhausted a first pressing.\u003cbr\u003e \u003cbr\u003e Around the end of 1974, City National informed Bill that he was too “emotionally involved” with the label and that they’d decided to pull the plug on Capsoul. Things got dire when Moss showed up at 3504 N. High Street to find the door padlocked, forcing him to break in to his own studio to abscond with the master tapes. Uneasy about keeping them at home, he secured them safely at a friend’s place in the rural outskirts of the city. Several years later, he’d return for them only to find that the tapes had been destroyed in a flood. And it gets uglier. Fed up and disgusted with the record business, Moss drove to Queen City in Cincinnati with the remaining Capsoul 45’s and had them recycled for a pittance in returns.\u003c\/p\u003e\n\u003cblockquote\u003eCapsoul was my first love. You never get over that one.\u003c\/blockquote\u003e\n\u003chr\u003e\n\u003cp\u003eAnd so Capsoul lay entombed for 30 years, the seeds of its promise spread out in hopes of discovery by a future generation. The cast and crew followed suit. Marion Black found his way to Harmonic Sounds across town and recorded a few moody singles for Clem Price’s Prix label. Taylor joined the military and recorded killer funk with Sojourner Truth in Kentucky, and even deadlier funk with O.F.S. Unlimited, also on the Prix label. Black works, as he has since his recording days, as a waiter in upscale Columbus establishments, while Taylor relocated to New Zealand, where he lives to this day. The Four Mints never made another record but still perform semi-professionally in and around Columbus. Dean Francis would keep writing and recording, working with Timeless Legend and Jupiter’s Release with former Kool Blues Billy Gilbert and John Primm. Gilbert took a job as an inspector for the City Of Columbus, while Primm moved back to Nashville. No one has heard a peep out of Virgil Johnson since his sheepish return from Los Angeles. Jeff Smith recorded a few more times in the 1970s but sadly died of cancer in 1997. \u003cbr\u003e \u003cbr\u003e Bill Moss would eventually enter politics, declaring that it couldn’t be as cutthroat as the music business. He ran for congress in 1976 and won election in 1977 (and six later re-elections) to the Columbus school board. He even ran for mayor in 1985 but was handily defeated. When we met with Moss in March of 2003, he could still be heard on WVKO radio, on Saturday mornings as the host of his “Let’s Talk” show and on Sunday afternoons with his own “Good News Sunday Gospel.” We enjoyed a few all-too-brief years of friendship with Bill before his sudden death on August 1, 2005.\u003cbr\u003e \u003cbr\u003e Before he passed, Moss reflected, “Capsoul was my first love. You never get over that one.” \u003cbr\u003e\u003c\/p\u003e","brand":"Numero","offers":[{"title":"Gold Vinyl 2xLP","offer_id":43186922782918,"sku":"NUM001LP-C1","price":31.0,"currency_code":"USD","in_stock":false},{"title":"2xLP","offer_id":43186922455238,"sku":"NUM001lp","price":25.0,"currency_code":"USD","in_stock":false},{"title":"CD","offer_id":40259322511558,"sku":"NUM001cd","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40259322544326,"sku":"NUM001dig1","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/NUM001lp-C1CapsoulLabelGoldVinyl2xLPTransparent.png?v=1675449475"},{"product_id":"eccentric-soul-the-bandit-label","title":"The Bandit Label","description":"\u003cp\u003eThe Bandit Records legend could almost be fiction. The house passing as a home, the harem passing as a family, the rising star brutally murdered in his prime, the dream, the con: The end. 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Our triple-LP unabridged edition brings 40 tracks to the CD’s 20, and the 14,000-word accompanying book, crackling with odd and dazzling imagery, makes our original notes read like a Babysitter’s Club entry. 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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":"buttons-starter-kit","title":"Starter Kit","description":"\u003cp\u003eHere at Numero, our arousal over skinny ties, broad-winged melodic hooks, harmonizing young men, and monosyllabic bandnames is no new thing. What’s getting us going all over again is Buttons, our spiffed-up and rebooted series dedicated to a legion of crushed Raspberries and Opposite-of-Big Stars, the small-time power pop, punky glam, and regular-guy rock 45s last seen pre-Challenger disaster at the last of the truly local record stores. \u003cem\u003eStarter Kit\u003c\/em\u003e flips back to classic-era Power Pop’s page one, recasting the original 004 as a lean 22-track singalong past Tommy Rock and Randy Winburn Bomp!-comp gems lost by Kim Fowley’s L.A., the Colors’ stabbing at nerved-out Blondie, and the Bats’ oddly mature New Haven Beatle-isms as prelude to Hollywood contracts for a young Jon Brion. We then expand the frame out to Tommy “The Toms” Marolda’s mid-life pining for those lost teen years and the Treble Boys’ flirtations with “Julie-Ann” and The Boss. 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. Ladies, the handsome gentleman on the cover is taken. \u003cbr\u003e\n\u003c\/p\u003e\n","brand":"Numero","offers":[{"title":"2xLP","offer_id":40259412099270,"sku":"NUM004lp","price":30.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40259412066502,"sku":"NUM004digital","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/files\/num-buttons-mockup_copy.png?v=1746806024"},{"product_id":"buttons-from-champaign-to-chicago","title":"From Champaign To Chicago","description":"\u003cp\u003eAn homage to the prairie state Numero calls home, \u003cem\u003eFrom Champaign To Chicago\u003c\/em\u003e is a 19-track survey of Illinois’ Cheapest Tricks. 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Built around a few stray boxes of demos, including  Penny \u0026amp; the Quarters’ uplifting “You And Me”—as featured in the 2010 film Blue Valentine—the balance of this 19-song collection is filled out with thrilling, previously released material by northern souldiers Joe King and the Royal Esquires, funk workouts from O.F.S. Unlimited, Mitch Mitchell \u0026amp; Gene King, the Soul Ensemble, and Chip Willis, dark, brooding deep soul from Marion Black, and heartstopping, salvation-seeking soul by Eddie Ray. Dante Carfagna’s notes provide crucial insight into Prix’s place on the local scene, and the package is illustrated with dozens of photographs, label scans, and a discographical survey of this brief, but brilliant early ’70s label. \u003c\/p\u003e\n","brand":"Numero","offers":[{"title":"CD","offer_id":40259734732998,"sku":"NUM015cd","price":12.0,"currency_code":"USD","in_stock":false},{"title":"Digital","offer_id":40259734765766,"sku":"NUM015dig1","price":10.0,"currency_code":"USD","in_stock":true},{"title":"2xLP","offer_id":40259734798534,"sku":"NUM015lp","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/atom-1538772386.jpg?v=1626880304"},{"product_id":"propinquity-propinquity","title":"Propinquity","description":"\u003cp\u003eAfter including Carla Sciaky’s lovely “And I A Fairytale Lady” on our \u003cem\u003eWayfaring Strangers: Ladies From The Canyon\u003c\/em\u003e compilation, we went ahead and had the original tapes for the \"Fairytale Lady\" source album transferred. 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The original 10-track album has been expanded to 14, with two unreleased tracks, and two others previously featured only on Owl’s 1971 \u003cem\u003eSing-In Boulder\u003c\/em\u003e compilation. \u003c\/p\u003e\n","brand":"Numero","offers":[{"title":"CD","offer_id":40259758162118,"sku":"NUM5003cd","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40259758194886,"sku":"NUM5003digital","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/atom-1538772926.jpg?v=1626880328"},{"product_id":"wayfaring-strangers-guitar-soli","title":"Guitar Soli","description":"\u003cp\u003e\u003cem\u003eGuitar Soli\u003c\/em\u003e documents the solo acoustic guitar movement that flourished between 1966 and 1981. The collection highlights a range of little-known innovators who bridged the chronological gap between the American Primitivism of John Fahey and Robbie Basho and the California Modernism of Michael Hedges and William Ackerman. Inside, discover the raga-influenced Ted Lucas, the mad-genius luthier William Eaton, the detuned loner Brad Chequer, and the classically trained, soon-to-be-mystery novelist Daniel Hecht. While Takoma and Windham Hill were laying the groundwork for the new age marketing juggernaut of the mid-’80s, Lucas, Hecht, Eaton, Chequer, Dan Lambert, Scott Witte, Richard Crandell, Jim Ohlschmidt, Tom Smith, Mark Lang, Stephen Cohen, Dwayne Cannan, Dana Westover, and George Cromarty were picking away in tiny cafes. They toiled for years in the same obscurity that Fahey worked to maintain, their privately issued albums sold hand-to-hand or stored in the garage. 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":"four-mints-gently-down-your-stream","title":"Gently Down Your Stream","description":"\u003cp\u003e\u003cem\u003eGently Down Your Stream\u003c\/em\u003e marked a creative zenith within the Columbus, Ohio, soul scene, at the juncture of the 1960s and ’70s. The Four Mints were one of the most influential local group harmony outfits of their era and—with assistance from Columbus doyen and Capsoul purveyor Bill Moss—among the few to release a full length LP. The roster of backing musicians hired to provide aural landscaping reads like a Midwest super-group, with surprising appearances from Indianapolis-based vibraphonist Billy Wooten and drummer Bobby Allen of the Fabulous Originals from Dayton, Ohio. And though most of the material on 1973’s Gently had been previously released as 45s, the collection—five singles and one priceless track saved from the scrap heap—gives witness to a world-class vocal quartet at its professional and intuitive peak. Under the watchful eye of arranger and mega-talent Dean Francis, the Four Mints pour forth from your speakers soulful, faithful and clear, but perhaps more importantly, intrinsically homegrown and utterly honest.\u003c\/p\u003e\n\u003cfigure\u003e\t\u003cimg src=\"https:\/\/s3.amazonaws.com\/numero-cdn\/images\/atoms\/four-mints-gently-down-your-stream\/atom-1620923115.JPG\"\u003e\t\u003cfigcaption\u003eGentle Blue Vinyl\u003c\/figcaption\u003e\n\u003c\/figure\u003e\n","brand":"Numero","offers":[{"title":"LP (Teal Clear Vinyl)","offer_id":43201508147398,"sku":"NUM1213lp-C2","price":27.0,"currency_code":"USD","in_stock":true},{"title":"LP (Gentle Blue)","offer_id":40259820650694,"sku":"NUM1213lp-C1","price":25.0,"currency_code":"USD","in_stock":true},{"title":"LP","offer_id":40259820617926,"sku":"NUM1213lp","price":20.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":40259820552390,"sku":"NUM1213cd","price":14.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40259820585158,"sku":"NUM1213digital","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/files\/gentlydownyourstream_C2.png?v=1709764223"},{"product_id":"final-solution-brotherman","title":"Brotherman","description":"\u003cp\u003eThe unfinished soundtrack to a film that was barely begun, \u003cem\u003eBrotherman\u003c\/em\u003e is music that’s hard to separate from its origins. The blaxploitation boom of the 1970s produced scads of original music and even a few hits, proving that the genre’s badass sound was just as important as the badass images it put up on screen. Limited 12\" includes an extended version of the title track, plus an instrumental version tricked out with horns and strings unavailable on the LP.\u003c\/p\u003e\n","brand":"Plus","offers":[{"title":"Digital","offer_id":40259846209734,"sku":null,"price":2.0,"currency_code":"USD","in_stock":true},{"title":"12in","offer_id":40259846242502,"sku":"NMD008","price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/atom-1539014827_d1972307-f0aa-41c0-bec3-d7b4c677b26e.jpg?v=1626880370"},{"product_id":"titan-its-all-pop","title":"It's All Pop!","description":"\u003cp\u003eFrom 1978 to 1981, the Titan label issued just eight records, but over the years their tiny catalog has crawled to the top of power-pop want lists worldwide and appeared on scads of homemade tapes, building a legacy to rival L.A.’s Bomp! or New York’s \u003ca href=\"http:\/\/dev.numerogroup.com\/products\/ork-records-new-york-new-york\"\u003eOrk\u003c\/a\u003e. Cut off in fly-over country, Titan fostered a scene of its own, imported its own skinny ties, and scoured the Missouri valley for its own talent. The label’s Midwest AM bubblegum roots are apparent in the likes of Gary Charlson, the Secrets*, Arlis!, Gems, Millionaire At Midnight, the Boys, J.P. McClain \u0026amp; the Intruders, Bobby Sky, and Scott McCarl, but Titan’s acts took cues from Stiff too, along with the glam-punk spit being hocked off the 100 Club stage.\u003c\/p\u003e\n","brand":"Numero","offers":[{"title":"4xLP (White Vinyl)","offer_id":41170457690310,"sku":"NUM024LP-C1","price":40.0,"currency_code":"USD","in_stock":true},{"title":"4xLP","offer_id":40259861283014,"sku":"NUM024lp","price":44.0,"currency_code":"USD","in_stock":true},{"title":"2xCD","offer_id":40259861250246,"sku":"NUM024cd","price":10.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40259861217478,"sku":"NUM024dig1","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/atom-1539014976_436f9610-a451-43e5-ab05-436a6ec5f2c0.jpg?v=1626880374"},{"product_id":"niela-miller-songs-of-leaving","title":"Songs Of Leaving","description":"\u003cp\u003eCulled from a warped acetate cut at Variety Recording Service in 1962, \u003cem\u003eSongs Of Leaving\u003c\/em\u003e is the complete songbook of New York folkie Niela Miller. Something of a Bleeker \u0026amp; MacDougal scenester, Miller picked up the guitar after an encounter with Eric Weissberg, lent her Martin to Pete Seeger, and even had Dave Van Ronk cover “Mean World Blues.” Her real claim to fame, however, is in writing “Baby Don’t Go To Town,” a song that boyfriend Billy Roberts would steal and “rewrite” as “Hey Joe.” You’ve heard Hendrix, Love, the Byrds, the Creation, Wilson Pickett, and a hundred others do it....Now hear the original, for the very first time.\u003cbr\u003e\n\u003c\/p\u003e\n","brand":"Numerophon","offers":[{"title":"Digital","offer_id":40259947921606,"sku":"NPH44001digital","price":10.0,"currency_code":"USD","in_stock":true},{"title":"LP","offer_id":40259947954374,"sku":"NPH44001lp","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/atom-1539015003_42921643-129c-4a8b-b1c6-8a70e347bca6.jpg?v=1626880376"},{"product_id":"24-carat-black-gone-the-promises-of-yesterday","title":"Gone: The Promises Of Yesterday","description":"\u003cp\u003eEmbraced in the early ’90s by Britain’s rare groove scene and later sampled by Digable Planets and Jay-Z, \u003cem\u003eGhetto: Misfortune’s Wealth\u003c\/em\u003e has since been known as 24-Carat Black’s first and final chapter, barely a footnote in the well documented history of Stax. For 35 years, the sketches for 24-Carat Black’s sophomore release hibernated in keyboardist and session engineer Bruce Thompson’s basement below the south side of Chicago. Abandoned by arranger Dale Warren when the studio bill darkened his mailbox, the tapes, over decades, had fallen into soggy disrepair, useless save for the six tracks featured on our release. \u003cem\u003eGone: The Promises Of Yesterday\u003c\/em\u003e is by no means a sequel to \u003cem\u003eGhetto: Misfortune’s Wealth\u003c\/em\u003e—missing are the poignant and bleak sermons on the pain of inner-city existence, replaced by dusky, sensuous re-workings of tainted love songs Warren had written as far back as 1965, during his time as a songwriter at Shrine and Motown. Still, his unfinished self-reinvention, even heard through the prism of these skeletal remnants, delivers on a remarkable purity of vision: one man’s corner of black culture, 24 carats pure and mishandled perhaps until now, finally a bit less misunderstood.\u003c\/p\u003e\n","brand":"Numero","offers":[{"title":"CD","offer_id":40260010180806,"sku":"NUM025cd","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40260010213574,"sku":"NUM025digital","price":6.0,"currency_code":"USD","in_stock":true},{"title":"LP","offer_id":40260010246342,"sku":"NUM025lp","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/atom-1539024506.jpg?v=1626880390"},{"product_id":"wayfaring-strangers-lonesome-heroes","title":"Lonesome Heroes","description":"\u003cp\u003eNo common ancestral folkie—no mercurial Fahey or lilting Joni—makes a fitting a touchstone to this third \u003cem\u003eWayfaring Strangers\u003c\/em\u003e installment. These \u003cem\u003eLonesome Heroes\u003c\/em\u003e are linked instead by mood: the turn of a strange phrase, a piano oddly mic’d, the sound of a room, both its guitar and man falling perfectly out of tune. For these somber, dark, and meditative troubadours, we opened up space for everything between a shambling revisit of some dusted Highway 61 capillary and a blue afternoon gone black. Each traveler tracked here took first steps out of his own\u003cem\u003eNowhere Special\u003c\/em\u003e. Some made stops in common, but none ever honestly intersected, and each recording thus owes its sound to a divergent time, method, and reason. From back-porch singer-songwriters who never played a single professional gig to those dragged off stage only by years, these sung tales were mostly privately pressed, privately created, and intended for the most private of audiences: those kindred lonely few who listened along the way.\u003c\/p\u003e\n","brand":"Numero","offers":[{"title":"2xLP","offer_id":40260015784134,"sku":"NUM028lp","price":30.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":40260015718598,"sku":"NUM028cd","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40260015751366,"sku":"NUM028digital","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/atom-1539015197_8bba1c70-f19e-430d-b0cb-951f4c4a18d8.jpg?v=1626880392"},{"product_id":"local-customs-lone-star-lowlands","title":"Lone Star Lowlands","description":"\u003cp\u003eThe second in our series of peeks into the world of regional studios hones in on Mickey Rouse’s Lowland operation out of Beaumont, Texas. 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The songs themselves run the gamut: southern boogie rock, CSNY clone workups, British blues thunder, garage-psych hangovers, Morricone-tinged supper club instrumentals, yacht rock, and what can only be described as Bobby McFerrin fronting the Velvet Underground...each of them threaded to another in the way only a tightly-knit scene knits its output together. 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When a Ragland-centric publicity stunt preempted a concert appearance, Love Apple disintegrated, abandoning this rehearsal tape within the lo-fi confines of Thomas Boddie’s cherished Eastside studio. Devoid of bass, the sparse instrumentation (only Lou on guitar and piano and Hot Chocolate’s Tony Roberson on drums) accentuates each vocalist’s aptitude, showcasing some of Ragland’s finest songwriting in the process. During any given take, Ragland can be heard calling audibles, directing his singers to repeat a passage, or lending his own sweet tenor to the vocal mix. Never intended for release, Love Apple’s six-song sketch is the perfect companion to \u003cem\u003eI Travel Alone,\u003c\/em\u003e bringing Ragland’s unique musical vision into sharper focus. \u003c\/p\u003e\n\u003cp\u003eLove Apple - S\/T EP 12\"\u003c\/p\u003e","brand":"Numero","offers":[{"title":"Candy Apple Red Vinyl","offer_id":41413120458950,"sku":"NUM042.5lp-C1","price":21.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40260846452934,"sku":"NUM042.5digital","price":6.0,"currency_code":"USD","in_stock":true},{"title":"LP","offer_id":40260846485702,"sku":"NUM042.5","price":18.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/NUM042.5loveappleMockUpcopyTransparent_5201ccb3-3996-4511-a454-eeb9a14ac62d.png?v=1671231912"},{"product_id":"shirley-ann-lee-songs-of-light","title":"Songs Of Light","description":"\u003cp\u003eAfter wrapping the tracklist for \u003ca href=\"http:\/\/www.numerogroup.com\/products\/local-customs-downriver-revival\"\u003e\u003cem\u003eLocal Customs: Downriver Revival\u003c\/em\u003e\u003c\/a\u003e, we knew there was a smaller second record buried in the mountains of tape rescued from Felton Williams’ Ecorse, Michigan, basement. Born at the tail-end of a Depression that darkened the entire United States, Shirley Ann Lee took her talent as a singer and pianist from a grim, overcrowded house in Toledo, Ohio, to a glamorous, gospel-fueled adolescence on the road and in Nashville. It wasn’t until her return to Toledo after a disastrous marriage in Los Angeles that, for the first time in almost two decades of public performances, she found the urge to praise God with her own words. As the Revival label’s lone “star,” Shirley Ann Lee was afforded dozens of opportunities to record her songs, but only six sides managed to trickle out on 45 between 1967 and 1969. Using Revival’s aborted Shirley Ann Lee Radio Hour program as our guide, we’ve taken the best of her proper studio recordings, in-the-moment sketches, out-of-tune piano demos, and rehearsals with young kids talking in the background and created the Shirley Ann Lee album that never was. 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While their Elektra-issued \u003cem\u003ePresent Tense\u003c\/em\u003e LP produced four MTV-ready singles and videos, it’s their pre-major label work that genre fans have clung onto hardest. \u003cbr\u003e\n\u003cbr\u003e\nThe sophomore album that never was: 1975’s power pop scorcher \u003cem\u003eBazooka\u003c\/em\u003e was tracked at home not long after their debut, but was shelved due to a lack of funds. Never available on LP, \u003cem\u003eBazooka\u003c\/em\u003e has been remastered from the original analog tapes and molded in 150 gram vinyl for your listening pleasure.\u003c\/p\u003e\n\n","brand":"Numero","offers":[{"title":"LP","offer_id":40260880203974,"sku":"NUM1202lp","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/atom-1539023902_03f5d639-c4f8-4591-87aa-0f525816087e.jpg?v=1626880482"},{"product_id":"good-god-apocryphal-hymns","title":"Apocryphal Hymns","description":"\u003cp class=\"dropcap\"\u003eIn the firmament of independently financed gospel LPs, the stock album jacket would become as much a commonplace as any of the most obligatory hymns, from \"Amazing Grace\" to \"Swing Low, Sweet Chariot.\" Decorating that stock jacket pantheon is a familiar collection of nature’s most graceful images of everyday awe-inspiration—foamy waves crashing over rocks or sand, rainbows spilling from passing clouds, sunset-backlit trees deep in shadow. Lighthouses and hands cupped in prayer abound, as do clip-art praying hands superimposed over those same lighthouse, cloud, and shoreline scenes. Photographic representation of the performers on a given LP product was most often left to an afterthought group portrait, pasted off-center into a back cover’s bottom corner, with names and instruments listed in plain black type. \u003c\/p\u003e\n\u003cp\u003eAmong the dozens of stock cover concerns vying for the attentions of a nation teeming with small-time music makers, Century Records of Saugus, California, turned out a lion’s share of the imagery options, which today turn up with the frequency of pebbles in a stream. Illinois Christian folksters the \u003ca href=\"http:\/\/dev.numerogroup.com\/products\/sixth-station-deep-night\"\u003eSixth Station\u003c\/a\u003e took to the twilit midwestern sundown meadow of Century’s Cover Option #229 for their contemplative and offbeat \u003cem\u003eDeep Night\u003c\/em\u003e cassette. That same #229 cover would do its service for the Gospel Imperials, the Jubilaires II, and the Sensational Friendly Four of Selma, Alabama...who made themselves a sensational pair of #229 LPs. The cascading waterfall tumult of Century cover #333 made good sense for the Original Soul Stirrers, but the Gospel Clouds of Joy also chose it, apparently for its mostly obscured clouds. Louise Richardson, the Golden Keys, and the Elison Family, to name just a few from far-flung parts unknown, headed for the sun-kissed mountain radiance of #317. And the litany of groups who selected the pastel-colored pre-dusk beachscape of #CS202 might truly be eternal; its golds and blues have been stamped in block type by names including—but nowhere near limited to—the Traveling Souls, Song Birds of the South, and the Flying Eagles Gospel Singers....though there was nary a seagull aloft on the day that #CS202’s film got exposed.\u2028\u003cbr\u003e\n\u003cbr\u003e\nFor \u003ca href=\"http:\/\/dev.numerogroup.com\/products\/king-bullard-version-songs-of-the-bos-label\"\u003eKing James Records\u003c\/a\u003e proprietor and repeat stock-cover customer James Bullard, choosing covers was creative only in the most minimal sense. \"I tried to select 'em so that they would coincide with the title of the content in the package. When I was starting out, I didn't have access to art directors, there wasn't any in Cleveland that I was aware of.\" Bullard's report is echoed by the Supreme Jubilees' Leonard Sanders: \"The title of our album was \u003cem\u003eIt'll All Be Over\u003c\/em\u003e. When I saw that photo of the sun setting into the ocean, it seemed to express everything we were trying to say.\" The same held true for the vast majority of the tens of thousands of gospel tracks distributed on LP between two sheets of stock-cover cardboard. But what of the exceptions? \u003c\/p\u003e\n\n\u003cp\u003eBy the dawn of the 1970s, the popular canon of gospel standards had grown full-on grey and stately. \"Just A Closer Walk With Thee,\" \"Blessed Assurance,\" and \"Wade In The Water” were ending their long march out of the sharecropping 1800s, while \"Stand By Me\" and \"We'll Understand It Better By And By\" sounded increasingly like turn-of-the-century relics. Even the pre-war silver on Thomas Dorsey's \"Take My Hand, Precious Lord\" and \"Peace In The Valley\" had tarnished some, as a new generation of musical holy rollers tried on the everyman spiritualism of the Civil Rights movement. Meanwhile, the spiritual’s oral tradition approached obsolescence with the advance of modern recording technology and inexpensive means of physically replicating a sung message. Predictably, this new era witnessed gospel readings in their multitudes on chart hits like “Ain’t No Sunshine” and “People Get Ready.” But for every instant-classic Bill Withers or Curtis Mayfield composition refracted through recorded gospel’s stained-glass prism, thousands of original hymns were etched into perhaps 1000—and often fewer—pieces of vinyl and then promptly left to the care of a tiny congregation. Of those hordes of recordings, only a precious few—given new context by time and the whims of taste—announce themselves to today's ears, standing fully apart from the innocuous reverence of the stock-cover imagery that, to our eyes, drags them toward the light.\u2028\u003cbr\u003e\n\u003cbr\u003e\nCollected here are 19 \u003cem\u003eApocryphal Hymns\u003c\/em\u003e, a slim new gospel songbook, penned powerfully by lesser-known disciples. Though some were housed by a prosaic Cover Option #293 or #397, their delivery of the Word was anything but ordinary.\u003c\/p\u003e\n","brand":"Numero","offers":[{"title":"2xLP","offer_id":40260912382150,"sku":"NUM040lp","price":20.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":40260912316614,"sku":"NUM040cd","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40260912349382,"sku":"NUM040digital","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/atom-1539024657_5f3bbcf5-355b-4ee8-ada2-0ba35f0e6bf1.jpg?v=1626880512"},{"product_id":"syl-johnson-dresses-too-short","title":"Dresses Too Short","description":"\u003cp\u003eSyl Johnson’s first LP hit stores in the summer of 1969. True to its era, it wasn’t so much an album as a collection of singles. The four non-single tracks (“Soul Drippin’,” “Fox Hunting On The Weekend,” “Same Kind Of Thing,” and “I’ve Got The Real Thing”—none of them a throwaway) were outtakes tacked on to capitalize on the expanding long-player market. Prolific designer and photographer Jerry Griffith shot the cover on a South Michigan Avenue building’s balcony. Despite blaring its title in Christmas-y, green-and-red cover lettering, \u003cem\u003eDresses Too Short\u003c\/em\u003e never found its season creatively or commercially, selling just a few thousand copies before being discontinued in the mid ’70s.\u003c\/p\u003e\n\n\u003cfigure\u003e\t\u003cimg src=\"https:\/\/s3.amazonaws.com\/numero-cdn\/images\/atoms\/syl-johnson-dresses-too-short\/atom-1605112069.jpg\"\u003e\t\u003cfigcaption\u003eSprite Bottle Green Edition\u003c\/figcaption\u003e\n\u003c\/figure\u003e","brand":"Numero","offers":[{"title":"LP (Sprite Bottle Green)","offer_id":40260920082630,"sku":"NUM1207LP-C1","price":25.0,"currency_code":"USD","in_stock":true},{"title":"LP","offer_id":40260920049862,"sku":"NUM1207lp","price":23.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40260920017094,"sku":"NUM1207dig1","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/files\/atom-1605112069.jpg?v=1701885636"},{"product_id":"centaura-lawdy-lawdy-lawd","title":"Lawdy, Lawdy, Lawd","description":"\u003cp\u003eWarrior horse-woman of myth or chimerical beast of late 1970s funk? It is simply Centaura, available here for what amounts to the first time. For Atlanta hillbilly impresario Bob Riley, the 12\" Spiral Series was part put-on, part hustle—but for Birmingham, Alabama’s Centaura, that spiral-in logo appeared as a long-shot leg up. Their record’s two-color, one-idea cover was mass-produced for Riley’s envisioned run of potential releases…though nothing but the enigmatic Centaura ever filled the jacket—and them just barely. Recorded in 1978, \u003cem\u003eLawdy, Lawdy, Lawd\u003c\/em\u003e is a long-playing Golden Fleece of funk, disco, boogie, and deep post-Muscle Shoals balladry that would’ve surely failed to exist without Riley’s extreme penny-pinching tactics in service of a failed marketing ploy so ludicrous, it kept the LP out of stores, relegated to extreme scarcity forever. On Side One, Jesse Daniel and Cedrich Rutledge trade energized beats and freaks, before the synth-washed slowdown of “One of a Kind.” Side Two features Riley’s two textbook funk cuts and album-ender “Just Don’t Love You”—a mysterious tack-on of the Carbon Copies’ Git Down Inc.-issued 45, plus a heaving “Distant Lover” that sexes Marvin Gaye’s original into softcore porn territory.\u003c\/p\u003e\n","brand":"Numero","offers":[{"title":"LP","offer_id":40260980768966,"sku":"NUM1211lp","price":20.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40260980736198,"sku":"NUM1211digital","price":9.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/NUM1211_Centaura_LawdyLawdyLawdy_LP_Black.jpg?v=1667415995"},{"product_id":"unwound-kid-is-gone","title":"Kid Is Gone","description":"\u003cp\u003e\u003cem\u003eKid Is Gone\u003c\/em\u003e is the unquiet portrait of primal Unwound. Before 1993’s \u003cem\u003eFake Train\u003c\/em\u003e ripped through, they’d been Giant Henry, Supertanker, and Cygnus X-1, short-lived black holes gathering dark material into something built to explode. From Justin Trosper, Vern Rumsey, and Brandt Sandeno’s first restive years, “Crab Nebula” might’ve best prepared the indie-sphere for what Unwound became, had Sandeno’s split not stalled their planned debut. Part 1 in Numero’s 4-part reissue project, \u003cem\u003eKid Is Gone\u003c\/em\u003e documents signal chaos in Olympia’s fertile scene before Unwound’s turbulent noise hit stride, in unrevealed period photos, 34 tracks, and three LPs—cassette-only demos, early 7”s, a KAOS radio broadcast, material tracked live in a local basement, and all of what became 1995’s \u003cem\u003eUnwound\u003c\/em\u003e, on which the band’s prehistory plays out in a feral maelstrom of screaming, distortion, feedback, and abrasive promise.\u003c\/p\u003e\n\n","brand":"Numero","offers":[{"title":"3xLP Box Set","offer_id":41156169695430,"sku":"NUM202.2LP","price":50.0,"currency_code":"USD","in_stock":false},{"title":"Digital","offer_id":40260999577798,"sku":"NUM202.2digital","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/NUM202_2_Unwound_KidIsGone_LP_Black.jpg?v=1667414703"},{"product_id":"cities-of-darkscorch-board-game","title":"Board Game","description":"\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/NUM048_CitiesOfDarkscorch_BoardGame_Photo_480x480.jpg?v=1661364006\"\u003e\u003c\/p\u003e\n\u003cp\u003eIn the brave tradition of George and Charles Parker, Milton Bradley, and Gary Gygax comes \u003cem\u003eCities of Darkscorch\u003c\/em\u003e—the Numero Group’s embattled first attempt at board game creation. Cities is the playable companion to \u003cem\u003eWarfaring Strangers: Darkscorch Canticles\u003c\/em\u003e, the label’s 48th mainline release and a harrowing dive into the Stygian caverns of the American hard rock underground. A dice-rolling, card-driven, heavy rock band van ride through a fantasy landscape, \u003cem\u003eCities of Darkscorch\u003c\/em\u003e could not begin to exist without Robert Soden, who, in 1975, set about creating a tapestry of maps, floorplans, and dungeon schema—the D\u0026amp;D-based lands of Eldara. Expanding upon Soden’s meticulous vision, \u003cem\u003eCities of Darkscorch\u003c\/em\u003e required newly commissioned card art and band logos to summon up a gravely themed mythical land of desolate outposts, warring bands, and the familiar ills that befall them.\u003cbr\u003e \u003cbr\u003e Roleplaying as any of \u003cem\u003eDarkscorch Canticles\u003c\/em\u003e’ sixteen determined bands, one to six players traverse the broken roads of Darkscorch—battling such forbidding quartets as Grimsword, Narcissus, Ass-Centaur and 97 more—to collect city banners from such pits of hard rock competition as Afterdath, Wizard’s Wellspring, and Throk. Along the way, players may augment their bands through the use of fate cards with new artwork from the demented minds of John McGavock McConnell and Eliza Childress. The ultimate goal is Numenor, victory, and a record contract penned in brimstone, VD, and pot smoke.\u003c\/p\u003e","brand":"Numero","offers":[{"title":"Game +2LP","offer_id":40261070782662,"sku":"NUM048game","price":65.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/NUM048_CitiesOfDarkscorch_BoardGame_LP_Black.jpg?v=1661363894"},{"product_id":"nikki-sudden-the-jacobites-dead-men-tell-no-tales","title":"Dead Men Tell No Tales","description":"\u003cp\u003eIn founding Swell Maps, the post-punk prefacing Birmingham art-snots, Nikki Sudden and his drumming brother Epic Soundtracks charted new territory for racket and corrosive guitar. But after folding Swell Maps at the dawn of the ’80s, Nikki Sudden plowed through another decade’s worth of terrifically fertile ground. Drawing on his devotion to the Rolling Stones and T. Rex—alongside guitarist Dave Kusworth as Jacobites, plus a cheekily named cohort of British sidemen—Nikki Sudden cut a string of raw, inspired rock ‘n’ roll records, etched with double edged travel melancholia and hard-bitten punk dejection.\u003cbr\u003e\n\u003cbr\u003e\n\u003cem\u003eDead Men Tell No Tales\u003c\/em\u003e takes a stripped-down turn with plaintive lyrical confessions as pretty as they are prescient, summoning Syd Barrett’s wild spirit through a séance of simple reverb burbles and acoustic incantations. Front-and-center vocals recounting love, loss, and death’s lurking presence are presented against airy guitar shimmer in a demented yin and yang seemingly forecasting the scarf-swathed, underground dandy man’s abrupt fall nearly 20 years later. In the midst of such weighty tomes are less downtrodden peeks into the studio, where Sudden and his Jacobites are caught on tape in a few joyful fits and starts, adding another complex layer to this celebrated post-punk.\u003c\/p\u003e\n","brand":"Numero","offers":[{"title":"LP","offer_id":40261071339718,"sku":"NUM1223LP","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/NUM1223_NikkiSuddenAndTheJacobites_DeadMenTellNoTales_LP_Black.jpg?v=1661363113"},{"product_id":"sandy-denny-the-strawbs-all-our-own-work","title":"All Our Own Work","description":"\u003cp\u003e“I met Sandy Denny at the Troubadour in Earl’s Court in late 1966,” Strawbs vocalist, guitarist, and banjoist David Cousins said. “I dropped in late one night to hear an angel singing. Sandy was sitting on a stool, wearing a white dress, a straw hat, and playing a Gibson Hummingbird guitar. When she came off stage, I introduced myself and asked if she fancied joining a group. ‘Who are you?’ she said. ‘Strawbs,’ I replied. ‘OK,’ she said. I went to the pay phone and called Tony Hooper to tell him we had a girl singer.”\u003cbr\u003e\n\u003cbr\u003e\nSandy Denny \u0026amp; the Strawbs were booked across the North Sea for a fortnight, with an option to record what would be their only album. The quartet spent days in a makeshift studio set up on the theatrical stage of Vanløse Bio, breaking down the Tandberg three-track reel-to-reel in time for the movie theater’s evening screenings before heading off to their nightly gig. In all, a dozen original songs were set down, including Denny’s recently completed “Who Knows Where The Time Goes.” From the moment Sandy Denny hesitantly delivered her original “Across the purple sky...” lyric, the song took wing toward canonization. But the world would wait another two years before hearing it, on Fairport Convention’s 1969 masterpiece \u003cem\u003eUnhalfbricking\u003c\/em\u003e. Only after four more subsequent years did the Copenhagen recordings come to light. \u003cem\u003eAll Our Own Work\u003c\/em\u003e hit the marketplace midway through 1973 on budget imprint Hallmark in a cheap sleeve with brief, offhand notes from Cousins and fell out of print by the end of the decade. This 2014 vinyl issue collects the original 12 track album, plus a series of outtakes from the Vanløse Bio sessions previously unavailable on vinyl. \u003c\/p\u003e\n","brand":"Numerophon","offers":[{"title":"2xLP","offer_id":40261071962310,"sku":"NPH44005LP","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/NPH44005_SandyDennyAndTheStrawbs_AllOurOwnWork_LP_Black.jpg?v=1661362378"},{"product_id":"local-customs-cavern-sound","title":"Cavern Sound","description":"\u003cp\u003eNot quite hell, but close enough. \u003cem\u003eLocal Customs: Cavern Sound\u003c\/em\u003e covers six years lost in the deranging darkness of Independence, Missouri’s Pixley limestone mine, where a team of misfit engineers captured the reverberating echoes of Kansas City’s rock n’ roll blasting cap. Taped in the subterranean studio headspace of Cavern between 1967 and 1973 are previously unissued recordings by Jaded, Larry Sands \u0026amp; the Sound Affair, Sheriff, Mulligan, Stone Wall, Morningstar, the Montaris, and the Dantes, alongside the most explosive tracks released on KC’s Pearce, Rock, and Cave labels by the likes of the Reactions, Burlington Express, the Classmen, Fraight, American Sound Ltd, Baxter’s Chat, 21st Century Sound Movement, Pretty, Tide, and A.J. Rowe. One of the strangest recording studios ever built, Cavern collected a cast of characters—the country-loving general manager, the young rocker, the Sun Records rockabilly pilot—and a dedicated clientele of religious groups, schools, country singers, and rock n’ roll dreamers hoping to stumble across the true sound of the underground. \u003c\/p\u003e\n\n","brand":"Numero","offers":[{"title":"2xLP","offer_id":40261106598086,"sku":"NUM054lp","price":25.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":40261106532550,"sku":"NUM054cd","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40261106565318,"sku":"NUM054digital","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/NUM054_LocalCustoms_CavernSound_LP_Black.jpg?v=1660935540"},{"product_id":"jordan-de-la-sierra-gymnosphere-song-of-the-rose","title":"Gymnosphere: Song Of The Rose","description":"\u003cp\u003eBefore new age hit terra firma at the dawn of the 1980s, the classically-trained Bay Area composer Jordan De La Sierra's consciousness soared with cosmic concepts. A student of Terry Riley and La Monte Young’s “pure sound with shape” school of piano tuning, De La Sierra was not confined by Bach’s Western, “well tempered” tuning, instead incorporating the natural point of view, what Young called “well tuned,” where notes are not flattened or sharpened in order to fall into an octave of 12 equal semitones to simply bend within the player’s improvisations and textural sonic explorations. With help from the venerable public radio program \u003cem\u003eHearts of Space\u003c\/em\u003e, De La Sierra tracked the four-song, 120 minute long album in a tiny Berkeley studio in 1976, then replayed the tape in San Francisco’s Grace Cathedral to create a reverb-drenched atmosphere. Take an interstellar ride on the sensory engulfing space piano with this lovingly recreated double LP set, complete with De La Sierra’s India-inspired visual artwork and musings on the tableau of space.\u003c\/p\u003e\n\n","brand":"Numero","offers":[{"title":"2xLP","offer_id":40459452088518,"sku":"NUM059LP","price":30.0,"currency_code":"USD","in_stock":true},{"title":"2xCD","offer_id":40261125275846,"sku":"NUM059CD","price":10.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40261125243078,"sku":"NUM059digital","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/NUM059_JordanDeLaSierra_GymnosphereSongOfTheRose_LP_Black.jpg?v=1660931682"},{"product_id":"saved-and-sanctified-songs-of-the-jade-label","title":"Songs Of The Jade Label","description":"\u003cp\u003eThe rawest DIY gospel ever resurrected. The West Side of Chicago was just an annex of the deep rural South for Gene Autry Cash and his flock of recent Old Dominion transplants looking to cut their fiery, unadorned sounds indelibly to plastic. His Jade label absorbed those God-fearing artists: family bands with wailing kids and barely amateur groups sourced from local parishes, infused with reverberations of country and western and deep soul. Glinting authenticity shines from every track like a diamond in the unpolished rough—each group completely convinced that salvation comes through song.\u003c\/p\u003e\n","brand":"Numerophon","offers":[{"title":"LP","offer_id":40261231640774,"sku":"NPH44007LP","price":25.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40261231608006,"sku":"NPH44007digital","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/NPH44007_SavedAndSanctified_SongsOfTheJadeLabel_LP_Black.jpg?v=1660760932"},{"product_id":"the-notations-still-here-1967-1973","title":"Still Here: 1967-1973","description":"\u003cp\u003eFrom the dawn of doo-wop to the death of disco, the Notations saw—and sang—it all. Persisting through changing trends and technologies, on major labels and minor ones, produced by both Syl Johnson and Curtis Mayfield, nothing could stop the Notations from representing Chicago’s Southside for decades. The first overview of their indie label golden age, \u003cem\u003eStill Here 1967–1973\u003c\/em\u003e finds the Notations at a musical crossroads, turning from simmering R\u0026amp;B ballads to socially-conscious soul. Offering up a platter of golden-dipped harmonies, inventive arrangements, and super-powered soul, the Notations survived as unheralded legends in their own time.\u003c\/p\u003e\n","brand":"Numero","offers":[{"title":"Red Vinyl Repress","offer_id":41773010157766,"sku":"NUM1232lp-C1","price":27.0,"currency_code":"USD","in_stock":true},{"title":"LP","offer_id":40261245632710,"sku":"NUM1232LP","price":25.0,"currency_code":"USD","in_stock":false},{"title":"CD","offer_id":40261245567174,"sku":"NUM1232CD","price":15.0,"currency_code":"USD","in_stock":false},{"title":"Digital","offer_id":40261245599942,"sku":"NUM1232dig","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/NUM1232_TheNotations_StillHere1967-1973_LP_Red.jpg?v=1660760289"},{"product_id":"elyse-weinberg-greasepaint-smile","title":"Greasepaint Smile","description":"\u003cp\u003eThe unreleased second album by an original lady from the canyon. Recorded and recanted in 1969, \u003cem\u003eGreasepaint Smile\u003c\/em\u003e is more assured than its self-titled, Tetragrammaton-issued predecessor. Weinberg’s finger-picked acoustic is layered over distant drumming, while her gravel-pit voice evokes life, love, and mortality. Fellow Torontonian Neil Young sears “Houses” with his signature fuzz-tone, casting chaos over the beautiful ballad, while J.D. Souther, Kenny Edwards, and Nils Lofgren, pick up the slack. Masterfully produced by David Briggs, \u003cem\u003eGreasepaint Smile\u003c\/em\u003e has climbed out of the canyon and is bound for every turntable east of the 405.\u003c\/p\u003e\n\n","brand":"Numerophon","offers":[{"title":"LP","offer_id":40261276106950,"sku":"NPH44008LP","price":23.0,"currency_code":"USD","in_stock":false},{"title":"CD","offer_id":41156200956102,"sku":"NPH44008CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40261276074182,"sku":"NPH44008dig1","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/NPH44008_ElyseWeinberg_GreasepaintSmile_LP_Black.jpg?v=1660673891"},{"product_id":"circuit-rider-photograph-attached","title":"Photograph Attached","description":"\u003cp\u003eBeneath the shroud of mystery surrounding the Circuit Rider LP is its mercurial, difficult, and wildly creative producer, Thorn Oehrig. After turning his penchant for biker lore into an acid-scorched \u003ca href=\"http:\/\/numerogroup.com\/products\/circuit-rider-s-t\"\u003eeponymous LP\u003c\/a\u003e, he continued recording with a motley cast of musicians and collaborators over the next few years, plotting a follow-up that was never quite completed. The original buzz remains across this unheard blast of angel dust. Dark hobo tales and rambling tunes, etched in alternately noisy, shambolic, and transcendent performances, channeling an alternate reality where Tom Waits is a mass murderer. \u003c\/p\u003e\n","brand":"Numero","offers":[{"title":"LP","offer_id":40261458755782,"sku":"NUM1255lp","price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/NUM1255_CircuitRider_PhotographAttached_LP_Black.jpg?v=1659118429"},{"product_id":"tucker-zimmerman-song-poet","title":"Song Poet","description":"\u003cp\u003eBy 1971, Haight-Ashbury survivor Tucker Zimmerman was six years into a self-imposed exile from the United States. His ten-song, Tony Visconti-produced debut album on Regal Zonophone had missed wide right, his UK visa had expired, and an unpublished 120-page journal of “Gypsy-Communal-Hallucinogenic-Pre-Millennial Apocalyptic Earthquake” sat sealed in his skull. “Turmoil and confusion. Visions and nightmares. Long hair and beads. Dazed, drug-bombed wanderings and anti-war marches. Pot and acid. Joy and ecstasy. Drop outs and burn outs. We were dancing in the streets. We were leaping out of windows thinking we could fly,” Zimmerman said of his first book. “Even today I cannot decipher that writing.”\u003cbr\u003e\n\u003cbr\u003e\nIt was from this fragile place that Zimmerman’s so-called “Black Album” was born. After taking refuge in Belgium, a series of gigs on the continent unfolded, and ten new songs emerged. Using a defective 2-track Telefunken, Zimmerman tracked the album in his Leige apartment. “We had pillows and blankets stacked over the windows to keep out traffic noises,” he recalled. “The album had no title. 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A natural reaction to this onslaught of hypersexual, transgressive, post-Throbbing Gristle art was a wave of interest in a kinder, gentler era of sleaze. For those space-age bachelors who occasionally invited others into their space-age bachelor- pads, the \u003cem\u003eLas Vegas Grind!\u003c\/em\u003e series appeared to, ostensibly, compile the sounds and smells of vintage strip clubs, with all the pastie-twirling, sweaty-hip-gyrating, lap-grinding one could hope for, as if compiled by Lloyd Llewellyn himself. \u003cbr\u003e\n\u003cbr\u003e\nLike every bootleg series, however, the \u003cem\u003eLas Vegas Grind!\u003c\/em\u003e series slid quickly into the untold darkness, much like a rotted-stripper panty swept off the stage at The Can Can. \u003cem\u003eLos Alamos Grind!\u003c\/em\u003e picks up in the not-too-distant future where nuclear war has indelibly altered the physical structure of strippers and patrons alike, but the jukebox selections have returned to a simpler time. Join the time-traveling A\u0026amp;R men of Numbero as they simultaneously visit past and future, compiling a superior collection of sleaze than anything brought to the post-apocalyptic-bachelor-pad scene thus far. And because we are gentlemen and scholars, each track is licensed… no easy feat when the government has crumbled and all laws are dictated by treaties between mutant warlords (and warladies). 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The themes of getting wasted, driving around in hotted-up cars, being trapped in crap jobs, and paranoia were their subject matter. Machine throb bass and drums with jagged car-wreck guitars were their modus operandi. Fitting into no place or time they spurned all but the most rudimentary and elemental of rock structures to create a sound all their own. \u003cbr\u003e\n\u003cbr\u003e\nQuadruple CD includes their complete studio recordings, live recordings, and a previously unissued set from Adelaide UniBar, plus dozens of previously unpublished photographs, discography, and fold out Perth Punk family tree. 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A dynamic band with an equally engaging image, they would burn brightly for less than two years, yet would leave an indelible mark upon music history. With producer du jour Shel Talmy at the helm (The Who, Kinks, Easybeats, Cat Stevens, et al) the Creation went on an incredible two year tear of singles, including “Making Time,” “How Does It Feel To Feel,” “Tom Tom,” and “If I Stay Too Long.” By 1968 it was over. Eddie Phillips’ trademark guitar bowing would be nicked by Jimmy Page and Boney M would cheese-up “Painter Man.” \u003cbr\u003e \u003cbr\u003e Over the nearly five decades since, the Creation has seen a tremendous resurgence in interest. First it was the Jam flossing “Making Time” on the inner sleeve of All Mod Cons. A few years later Alan McGee formed the band Biff Bang Pow and his Creation record label. By the turn of the century a new generation had discovered the band via a strategic placement in Wes Anderson’s \u003cem\u003eRushmore\u003c\/em\u003e. \u003cbr\u003e \u003cbr\u003e Presented here for the first time are the complete Creation studio recordings. All 42 tracks have been remastered from the original tapes by Shel Talmy, and given fresh stereo mixes where previously unavailable. New essays by Dean Rudland and Alec Palao tell the band’s story and dive into their complete studio sessions. Scores of previously unpublished photographs adorn the accompanying 80 page hard bound book. We’ve rounded the whole package out with four tracks by pre-Creation freakbeat quartet the Mark Four, making \u003cem\u003eAction Painting\u003c\/em\u003e the definitive collection of this legendary UK band.\u003c\/p\u003e","brand":"Numero","offers":[{"title":"2xLP (Red and Black Haze)","offer_id":40261764481222,"sku":"NUM064LP-c1","price":25.0,"currency_code":"USD","in_stock":true},{"title":"2xLP","offer_id":41176024416454,"sku":"NUM064LP","price":22.0,"currency_code":"USD","in_stock":true},{"title":"2xCD + Book","offer_id":41156299129030,"sku":"NUM064CD","price":14.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40261764382918,"sku":"NUM064dig","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/NUM064_TheCreation_ActionPainting_LP_RedAndBlackHaze.jpg?v=1658255676"},{"product_id":"crimpshrine-duct-tape-soup","title":"Duct Tape Soup","description":"\u003cp\u003eBefore Green Day, Operation Ivy, and Lookout Records put the East Bay’s burgeoning punk scene on the map, a trio of Berkeley kids were reinventing the genre with music that was melodic but full of feedback, and a singer who sounded like he gargled glass. Crimpshrine's debut EP was Lookout’s fourth release, followed by an album, a second EP, and a slew of split singles and compilation tracks before the band imploded in 1989 after a ridiculous two-and-a-half-month tour in a Ford Pinto hatchback. Formed around teenage binary stars Jeff Ott and Aaron Cometbus, Crimpshrine went through a series of lineups in their four-year run, utilizing future Tilt and Go Sailor bassists Pete Rypins and Paul Curran, and briefly including second guitarist Idon Bryant. Not overtly political, their fiery brand of introspective punk touched on homelessness, teenage pregnancy, drug use, friendship, isolation, and a grimy sort of romance. \u003cbr\u003e\n\u003cbr\u003e\n\u003cem\u003eDuct Tape Soup\u003c\/em\u003e is their Lookout-rejected 1988 debut LP that was parsed out to various compilations and split 7”s before being recompiled for Larry Livermore’s punk institution in 1992. After Lookout’s unfortunate demise at the turn of the century, the album went out of print. In cooperation with the band, we’ve remastered the recordings and freshened up the accompanying booklet to make the perfect legacy edition of this ’80s punk classic. \u003c\/p\u003e\n","brand":"Numero","offers":[{"title":"LP","offer_id":40261805408454,"sku":"NUM1236lp","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/NUM1236_Crimpshrine_DuctTapeSoup_LP_Black.jpg?v=1658250979"},{"product_id":"crimpshrine-the-sound-of-a-new-world-being-born","title":"The Sound Of A New World Being Born","description":"\u003cp\u003eBefore Green Day, Operation Ivy, and Lookout Records put the East Bay’s burgeoning punk scene on the map, a trio of Berkeley kids were reinventing the genre with music that was melodic but full of feedback, and a singer who sounded like he gargled glass. Crimpshrine’s debut EP was Lookout’s fourth release, followed by an album, a second EP, and a slew of split singles and compilation tracks before the band imploded in 1989 after a ridiculous two-and-a-half-month tour in a Ford Pinto hatchback. Formed around teenage binary stars Jeff Ott and Aaron Cometbus, Crimpshrine went through a series of lineups in their four-year run, utilizing future Tilt and Go Sailor bassists Pete Rypins and Paul Curran, and briefly including second guitarist Idon Bryant. Not overtly political, their fiery brand of introspective punk touched on homelessness, teenage pregnancy, drug use, friendship, isolation, and a grimy sort of romance. \u003cbr\u003e\n\u003cbr\u003e\n\u003cem\u003eSound Of A New World Being Born\u003c\/em\u003e compiles their two Lookout singles \u003cem\u003eSleep What’s That\u003c\/em\u003e and \u003cem\u003eQuit Talkin’ Claude E.P.\u003c\/em\u003e with a handful of compilation and split 7\" tracks. In cooperation with the band, we’ve remastered the 16-track album and freshened up the accompanying poster to make the perfect legacy edition of this ’80s punk classic. \u003c\/p\u003e\n","brand":"Numero","offers":[{"title":"LP","offer_id":40261808914630,"sku":"NUM1237lp","price":15.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/NUM1237_Crimpshrine_TheSoundOfANewWorldBeingBorn_LP_Black.jpg?v=1658250631"},{"product_id":"hsker-d-savage-young-d","title":"Savage Young Dü","description":"\u003cp\u003eExperience the punishing sonic origins of a punk icon. Collected here for the first time, and skillfully remastered from original board tapes, demos, and session masters, this collection is an authoritative chronicling of the wellspring and maturation of Grant Hart, Greg Norton and Bob Mould—three St. Paul teenagers who’d go on to become the most heralded trio of the American punk underground. Follow the Hüskers to their earliest gigs in 1979, through extensive road dog touring, and to the start of their partnership with West Coast tastemaker SST in 1983 via a 108-page hardbound book crammed full of photos, flyers, and a sprawling essay with participation from the band. Spread across four LPs, 47 of the 69 songs compiled here are previously unissued, and includes \u003cem\u003eIn A Free Land\u003c\/em\u003e, \u003cem\u003eEverything Falls Apart\u003c\/em\u003e, and an alternate \u003cem\u003eLand Speed Record\u003c\/em\u003e.\u003c\/p\u003e\n\n\n","brand":"Numero","offers":[{"title":"4xLP (Black Vinyl) + Book  + 7in (Colored Vinyl Version)","offer_id":40261888213190,"sku":"NUM200LP-C1bn","price":120.0,"currency_code":"USD","in_stock":false},{"title":"4xLP + Book","offer_id":40261888049350,"sku":"NUM200LP","price":100.0,"currency_code":"USD","in_stock":false},{"title":"3CD + Book","offer_id":40261888082118,"sku":"NUM200CD","price":21.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/NUM200_HuskerDu_SavageYoungDu_LP_Black_7in_6f84805b-832c-4eea-b18d-de3d844c5521.jpg?v=1657929241"},{"product_id":"happy-rhodes-ectotrophia","title":"Ectotrophia","description":"\u003cp class=\"dropcap\"\u003eThe first authoritative compilation of American dream pop artist Happy Rhodes, whose singular songwriting and four-octave vocal range emanated from the pastoral confines of upstate New York in the 1980s. 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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Trained as an accordionist, Falcone had a whirlwind imagination and an omnivorous approach to genre, expressed through acts like the Centuries, the Tabbys, Johnny Silvio, the Inmates, Bernadette Carroll, the Hallmarks, Vickie \u0026amp; the Van Dykes, the Shandillons, Eugene Viscione, the Shoestring, and more. Cleopatra became a time-capsule of every 1960s pop style imaginable—garage rock, psychedelia, surf, girl groups, soul, novelties, exotica, even a crooner—a kaleidoscope of sound in search of the ever-elusive hit record.\u003c\/p\u003e\n\n","brand":"Numero","offers":[{"title":"2xLP","offer_id":40262006210758,"sku":"NUM074LP","price":27.0,"currency_code":"USD","in_stock":true},{"title":"CD + Book","offer_id":41156222943430,"sku":"NUM074CD","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/NUM074_TeenExpo_TheCleopatraLabel_LP_Black.jpg?v=1657907512"},{"product_id":"pastor-tl-barrett-the-youth-for-christ-choir-do-not-pass-me-by-vol-ii","title":"Do Not Pass Me By Vol. II","description":"\u003cp\u003eThe sequel to Pastor Barrett’s landmark 1971 masterpiece \u003cem\u003eLike A Ship…\u003c\/em\u003e, \u003cem\u003eDo Not Pass Me By\u003c\/em\u003e finds the young Chicago preacher and his Youth for Christ Choir continuing their genre-bending spiritual journey. Heavy drums, soaring falsettos, euphoric tambourines, sharp horns, and Barrett’s unwavering devotion dance around a 40-strong choir, working together to form sanctified slab of gospel funk. Pressed in a minuscule quantity in 1973, \u003cem\u003eDo Not Pass Me By\u003c\/em\u003e was sold primarily from the pulpit of Barrett’s Mt. Zion Baptist Church, disappearing into Chicago’s south side for 45 years before Numero’s excavation. The ten-song album has been remastered, it’s generic album cover updated to match Barrett’s vision. On the back of the jacket, he insisted on the following words: “After listening to this album you will be glad that you did not pass it by!”\u003c\/p\u003e\n","brand":"Numero","offers":[{"title":"LP (Silver Vinyl)","offer_id":40262029934790,"sku":"NUM1270LP-C1","price":30.0,"currency_code":"USD","in_stock":false},{"title":"LP","offer_id":40262029902022,"sku":"NUM1270LP","price":25.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":40262029836486,"sku":"NUM1270CD","price":12.0,"currency_code":"USD","in_stock":true},{"title":"Digital","offer_id":40262029869254,"sku":"NUM1270dig","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/NUM1270_PastorTLBarrett_DoNotPassMeBy_VolII_LP_Silver.jpg?v=1657906333"},{"product_id":"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":"eccentric-soul-the-cash-label","title":"The Cash Label","description":"\u003cp\u003eFrom the most affordable studio on Chicago’s west side comes a document of unknown and remarkably eccentric soul music, all produced in late-night sessions after day jobs and family dinners had ended. 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There’s more than a bit of Santo \u0026amp; Johnny at their most somnambulant here, slightly glazed, definitely reverb’d out, mysteriously bottling the flaring, saturated light of the desert at dusk. \u003c\/p\u003e\n\n","brand":"Other","offers":[{"title":"LP","offer_id":40262153666758,"sku":"ER8016LP","price":15.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":45535814516934,"sku":"ER8016cd","price":10.0,"currency_code":"USD","in_stock":false},{"title":"Digital","offer_id":40262153601222,"sku":"ER8016dig1","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/NUM8016_ExpressRising_FixedRopeII_LP_Black.jpg?v=1657748060"},{"product_id":"environments-t-shirt","title":"I Can Help You T-Shirt","description":"\u003cp\u003eGot the gift of gab? Love \u003cem\u003eEnvironments\u003c\/em\u003e and get why everyone should have it on their phone? If your answers to these questions are YES, may we interest you in this flawless reproduction of Irv Teibel’s original t-shirts for Syntonic Research brand ambassadors, finely rendered on soft \u0026amp; smooth relaxed fit oatmeal triblends by Bella and Canvas? Get it, and get ready to answer some questions about the 21st Century's hottest ambient \/ natural sounds app for \u003ca href=\"https:\/\/itunes.apple.com\/us\/app\/environments\/id1294132065?mt=8\"\u003eiOS \u003c\/a\u003e and \u003ca href=\"https:\/\/play.google.com\/store\/apps\/details?id=com.numerogroup.environments\u0026amp;hl=en_US\"\u003eAndroid\u003c\/a\u003e - Environments.\u003cbr\u003e\u003c\/p\u003e","brand":"Numero Group","offers":[{"title":"Off-White (S)","offer_id":40262179389638,"sku":"NUM-T015-USM","price":30.0,"currency_code":"USD","in_stock":false},{"title":"Off-White (M)","offer_id":40262179422406,"sku":"NUM-T015-UMD","price":30.0,"currency_code":"USD","in_stock":false},{"title":"Off-White (L)","offer_id":40262179455174,"sku":"NUM-T015-ULG","price":30.0,"currency_code":"USD","in_stock":false},{"title":"Off-White (XL)","offer_id":40262179487942,"sku":"NUM-T015-UXL","price":30.0,"currency_code":"USD","in_stock":false},{"title":"Off-White (XS)","offer_id":40262179520710,"sku":"NUM-T015","price":30.0,"currency_code":"USD","in_stock":true},{"title":"Off-White (XXL)","offer_id":40262179553478,"sku":"NUM-T015-2XL","price":30.0,"currency_code":"USD","in_stock":false},{"title":"Off-White (XXXL)","offer_id":40262179651782,"sku":"NUM-T015-3XL","price":30.0,"currency_code":"USD","in_stock":true},{"title":"Off-White (Women's Small)","offer_id":41170983747782,"sku":"NUM-T015-WS","price":30.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0573\/1650\/7846\/products\/atom-1583346195.png?v=1626880983"}],"url":"https:\/\/numerogroup.com\/collections\/west-coast-direct-2-u-sale.oembed?page=5","provider":"Numero Group","version":"1.0","type":"link"}