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NUMERO GROUP

Sanford Clark

They Call Me Country

    Propelled by his 1956 Lee Hazlewood- produced hit “The Fool,” Sanford Clark was already a rockabilly legend in his own right by the time he swapped his hair gel and switchblade for a pair of cowboy boots on They Call Me Country. Recorded between 1965-67 and originally released as a series of singles for Phoenix’s Ramco label, the 12 tracks on this LP borrow Bakersfield’s outlaw sound and ignore Nashville’s countrypolitan flair, standing as a true lost masterpiece of country music’s third generation.

    Clark’s booming baritone tells tales of bar fights, heartaches, and drinking til you can’t stand, while Waylon Jennings provides a backdrop of fuzzed out guitar twang. Mastered from the original session tapes and back on vinyl for the first time since the Nixon administration. 

    Various Artists

    Basement Beehive: The Girl Group Underground

      Who do we become when we live our dreams? It’s all here—the high hairdos, the dreams and schemes, the tender camp, the wedding bell fantasias and chaste tragedies. Sister acts, studio receptionists, classmates, angelic voices of the 1960s; some legendary, many hidden in the basement of expired rainbows. Gathered on this deluxe double LP (or CD) are 28 (56 on the compact disc!) foiled escape attempts, now free to soar in girl group heaven.

      Noise Addict

      10,000 Kids With Guitars

        THIS IS A RECORD STORE DAY 2017 EXCLUSIVE, LIMITED TO ONE PER PERSON.

        Noise Addict: 10,000 Kids With Guitars

        What does teen spirit smell like, anyway? It might smell something like Noise Addict. Like the real life stars of some sort of choose-your-own-adventure book about pursuing rock stardom, few bands ever led a more charmed existence, springing from the Sydney suburb of Bondi into seemingly overnight international fame as friends and collaborators of Sonic Youth, Fugazi, and the Beastie Boys. Through a combination of relentless drive, luck, and an admirable lack of self-doubt, Noise Addict spanned puberty to surpass the haters and join Radio Birdman and Nick Cave as a strange but permanent piece of Australian punk history. Cover art doubles as a working chalk board (chalk not included).

        This title is a Record Store Day Exclusive.

        Blonde Redhead

        Masculin Feminin

          Teeming with the energy and grit of pre-Giuliani Manhattan, Blonde Redhead’s long out-of-print early recordings have finally crawled their way out of the ‘90s basement thanks to Numero Group who will issue the set on Sept. 30. Weighing in at 37 tracks, Masculin Féminin compiles the band’s first two albums for Steve Shelley’s Smells Like Records (self-titled and La Mia Via Violenta), their period singles, extant demos, and radio performances across four LPs or two CDs. Dozens of previously unpublished photographs illustrate two lengthy essays on this essential New York band’s formative years.

          This is the latest installment in Numero Group’s 200 Line series which has also included releases from Unwound, Bedhead, Codeine, White Zombie and The Scientists. “These songs combine a raw need, a ready access to neediness, with seemingly incongruous cinematic changes reminiscent of ‘60s Italian pop music and movie scores. They switch between emotional grandeur and eye scratching immediacy.”-Arto Lindsay

          Various Artists

          Buttons: Starter Kit

            This entry level compilation features 20 songs from our original 004 cd, plus two bonus cuts, new liners, tons of sleeve scans, photos, and ephemera, all housed in a spot varnished, brick-thick gatefold sleeve. Artists include New Jersey's Toms, Kennet, MO's Trend, NYC's Colors, Treble Boys, and Sponsors, Hollywood's Randy Winburn and Tommy Rock, Des Moines, IA's Luxury, San Antonio's Kids, Connecticut's Bats (featuring a young Jon Brion), and Boston's Tweeds. Attention: In celebration of our Buttons series, you can buy both NUM004 and NUM044 together with our limited edition Power Pop Buttons Pack. This pack includes 32 high quality buttons of varying sizes that feature artists from both Buttons compilations. Act fast because this set is limited to 100 and will never be made again.

            A raw cry from the dark night of one man’s soul. Cloistered away from the popular culture of 1982, rural Illinois priest Tony Trosley painted a pastoral refraction of early 1970s Laurel Canyon watercolors with this stand-alone set of songs. Openhearted and naively psychedelic, 'Deep Night' was recorded during a single pre-dawn marathon, and mixed live-to tape in an isolated chapel. Cobbled together out of local players to help fill out this ethereal soundscape, Trosley’s band brought an earnest but bluntly unsophisticated backdrop to his phaser-drenched 12-string guitar. The Sixth Station - named for a grim New Testament tableau in which Veronica washes the tortured face of Jesus - managed to avoid overtly Christian themes in favor of a mystical Humanism that resonates timelessly, and to any sort of listener. This 'Deep Night' is as profound and eerie as the images conjured by its title.

            Available as a 3-CD or 4-LP collection I Travel Alone follows hero, Lou Ragland, through various and sundry styles, studios and combos, capturing one of Cleveland's most daring musicians during his most adventurous decade. With the release of 1970's census data, Cleveland, Ohio, ranked tenth in population among U.S. metropolitan centres. The Forest City had lost nearly 200,000 people in the decade passed, and it would lose 200,000 more before the ball dropped into 1980. Cleveland's legendary stores of musical talent would mirror that exodus, as no one-from Albert Ayler to Screamin' Jay Hawkins, from Bobby Womack to Edwin Starr, from Tracy Chapman to Chrissie Hynde- managed to break nationally until after they'd left the city limits. Even the O'Jays, greater Cleveland's most enduring soul demigods, rode their "Love Train" not out of Cleveland Union Terminal but departing from Philadelphia's 30th Street Station with Gamble & Huff as the rails. No one made it in Cleveland, despite the hundreds that tried. I Travel Alone gathers together the work of a pre-flight Lou Ragland, laid down during those fertile Cleveland years when he did most of his traveling between Hough and Garfield Heights, up and down Kinsman Road, out to Lakewood or Euclid...maybe Parma if the situation called for it. Stuffed into a '65 Mustang, guitar case angled between the seats, his LPs stashed in the trunk, Lou Ragland never was quite alone, though he followed a road all his own.

            FORMAT INFORMATION

            LP Box Set Info: 4xLP box set.

            Little Ed & The Soundmasters

            Little Ed & The Soundmasters - 7" Box Set

              Chicago’s only blues-funk family band with an eight-year-old drummer finally get their due in this elaborate 3×45 box set. Stationed on Chicago’s west side, between 1965-1972 the Fisher brothers worked their novelty act at any club that was willing to bend the city’s stiff liquor laws. Three 45s were cut for their homespun Fised and Fished labels, with the third featuring the first known recordings of notorious bluesman Johnny Dollar. Chock full of photos stripped from family photo albums, the 12 page booklet tells the complete Soundmaster story, from their earliest days backing J.B. Hutto to Little Ed’s final snare cracks for Southside Movement. Housed in a tipped-on 7” box, the set raises the bar for funk 45s.

              'I wanna be somebody so bad, but you keep on putting your foot on me.'

              To hear him tell it, Syl Johnson could have been as big as James Brown or Al Green. #1 on the charts, top billing on the marquee, Hall of Fame inductions, tearful tributes... all within his reach, and yet never in his hands. Something, someone, and sometimes - if you believe his lyrics - the sole of a shoe was holding him back. Was it because he’s black? Not likely, though his inability to crossover to the pop charts never did him any favors. “I made my opportunities, but I never got the breaks I should have gotten. I was a jack-of-all-trades. More soul than Marvin, more funk than James. If I’d gone pop, you’d be talkin’ about me, not them. I rate right at the top, though I’ve been underrated all my life.”

              Laced with that unique brand of bravado, the Syl Johnson interview tends to veer toward harrowing voyages through interruption, correction, and deliberate obfuscation. “Back up, hold on, slow down… Wu Tang, Kid Rock, Michael Jackson… Jimmy Reed, Jimmy Johnson, Jimmy Jones….” Johnson has a habit of insisting that everything printed before—every verbatim transcript read directly back to him—is a blatant misquote or misunderstanding…and sometimes both. His date of birth and place of birth, his surname change from Thompson to Johnson, the murky beginnings of the Twinight record label—Syl Johnson weaves them all into one convoluted narrative, a daunting challenge for historians and fans alike to follow. Resolving his life story for this collection became an exercise in patience and diligence, as we chased the rabbit through even more big-hole 45s than bear his name.

              The blues was always a genre riddled with myth and legend—its half-truths muttered on sun-baked Mississippi porches have long-since morphed into biographical foundations. From Robert Johnson’s midnight bargain with the devil at the crossroads near Dockery Plantation to Bo Diddley’s divergent claims about the origin of his name, fabrication is fully ingrained in blues tradition.

              Syl Johnson’s apple never fell far from that tree. When this bluesman-at-heart felt his career tapering off early in the 1980s, his tendency toward self-mythologizing gained momentum. If he couldn’t enjoy the successes of an Al Green or a James Brown, he could surely concoct for himself a more mysterious history. Forget hot grits and armed robbery, Syl Johnson’s illegitimate father would be Robert Johnson. Or so he began to claim….

              For decades, Johnson has been toeing the edge of a wide chasm that separates soul’s upper and middle classes, overshadowed across his career by the bill-paying stars of the Federal and Hi labels. He’s joined by the likes of Otis Clay and Candi Staton in a pantheon of great soul singers who maintained viable careers over several decades but never achieved that national #1 smash. Consequently, he’s been eschewed by oldies stations and Final Jeopardy questions, never having scattered the cultural detritus that keep even one-hit wonders in the periphery of the national consciousness. The litany of his largely regional hits—“Come On Sock It To Me,” “Different Strokes,” “Is It Because I’m Black,” “We Did It,” “Back For A Taste Of Your Love,” and “Take Me To The River”—is undeniable, a list that dwarfs the tally of winning output in his caste. Even so, Johnson’s reevaluation as a serious artist has yet to arrive.

              By sheer quantity of singles issued, Syl Johnson should be an oldies radio staple. He’s issued more than 60 unique 45s, at last count—and that excludes international pressings and what he refers to as “booties.” Of those, 28 are collected here, in addition to extant cuts from his two Twinight LPs and a swath of period outtakes. Johnson’s Hi singles and albums have been compiled comprehensively, and recently, so we’ve chosen to focus on his work prior to joining the Memphis powerhouse in 1971. In cases where no dates could be found, we’ve taken pains to place them within the chronology Syl himself provided over the last four years. But with Syl Johnson, those dates seem to shift every time they’re about to be confirmed. We’ve broken our own Syl Johnson biography into discrete sections, headed by topical quotations even the man himself can’t rightly deny. When grilled, Johnson just shrugs and says, “Gotta keep some mysteries unsolved….”

              FORMAT INFORMATION

              Ltd Box Set Info: Super deluxe 6xLP, 4xCD box set.

              Following a path blazed in Belize and the Bahamas, the Numero Group finds yet another stop on the soul diaspora tour: Dimona, Israel. Between 1975-1981, a group of American ex-pats took their native sounds of Detroit and Chicago and intermingled them with the messages of the black Hebrew culture. The results are a heavenly mix of spiritual soul and jazz with an undercurrent of gospel psychedelia. Featuring the Soul Messengers, the Spirit Of Israel, Sons Of The Kingdom, and the Tonistics, "Soul Messages From Dimona" is the only living document of a thriving community at both the center and fringe of the world. Deluxe CD and 2LP set comes stuffed with rare photographs, sleeve pics, and expansive liner notes about the African Hebrew Israelites journey from the sounds of slavery to the intonations of liberty.

              In January of 2006 the Numero Group found itself sitting three wide on a weight bench in a damp garage. Eight hours later they peeled out of the driveway with a thirty seven tape mystery. Though Jeremiah Yisrael's Tap label only issued a handful of 12"s between 1981-83, the tape deck never stopped rolling, producing dozens of lavish songs in disco's last days. From the string-heavy sugar boogie of Jackie Stoudemire and Arnie Love to pioneering raps by Missy Dee & The Melody Crew and Fabulous 3 MCs, Recording Tap covers a wide swathe of New York's all night sound.

              FORMAT INFORMATION

              Box set Info: Deluxe vinyl album box set includes a miniature song book and expansive booklet stuffed with photos and memorabilia, THREE albums in replica tape image sleeves (including a whole album of exclusive bonus tracks) plus a CD of the complete album, all housed in a hard paste-on board tape style box. To say that this is a bit special is a major understatement!!

              The second in Numero's series of exploration into the pan-American funk experience, "Cult Cargo - Grand Bahama Goombay" is a deep overview of Funky Nassau's red-headed sister city, Freeport, GBI. From 1969-1976 Frank Penn's GBI studio and label cranked out a dozen LPs and twice as many singles infected with the Miami sounds drifting in over the 100 mile strait. The catalog is a fruity blend of rake and scrape, bush, junkanoo, calypso, reggae, and of course, goombay, with a twist of American soul.

              FORMAT INFORMATION

              CD Info: CD comes with 16 page full colour booklet featuring full musical history of the island.

              The first ever compact disc issue of Catherine Howe's brilliant debut album. Produced by legendary jazz pianist Bobby Scott, the album is a pastoral blend of English countryside folk and London orchestral pop, not unlike "Bryter Layter" or "North Star Grassman And The Ravens". Originally released on Reflection Records in 1971, the much sought after album disappeared before ever hitting the racks. Booklet includes half a dozen unpublished photos and an annotated history of the LP's brief existence. This fully remastered album includes an unearthed bonus track originally intended to be included on the album.

              FORMAT INFORMATION

              LP Info: Deluxe vinyl issue at last!

              Pig's tails, potatoes, plantains, bananas, boiled eggs, yams and a whole fish, all added to one pot: Belizian's call it 'Boil Up', but it's anything but leftovers. Mix equal parts R&B, calypso, disco, funk, reggae, bruckdown, soul, folk, and whatever else can be found back on the bottom shelf of the musical pantry. Get ready to feast on passport stamped rhythms, second-deck cruise ship melodies, hotel pool calypso, soundtracks to movies not-yet-made, and anything else savory, or unsavory, enough to throw into the pot.

              FORMAT INFORMATION

              CD Info: CD comes with 16 page full colour booklet of artist biographies, original sleeve artwork etc.


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              This Sunday (August 25) we are down @ThePilcrowPub next to the CIS building celebrating the launch of our new beer… https://t.co/ng2LNvz2SY
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