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Leaves Turn Inside You

    The Unwound album that ended all Unwound Albums. Recorded in a moudering farmhouose basement at the crest of the new century, Leaves Turn Inside You is the no-wave response to Spector’s wall of noise call. Infinite layers of choppy guitar stabs and bridge scrapes, guttural bass thronk, thrift store synths, and monotone chanting wash over suffocating rhythms to deliver the wrld’s only choral grung LP. Remastered from the original analogue tapes and pressed on heavy weight vinyl for the discerning noise-nik.

    Switched-On Eugene documents the Eugene Electronic Music Collective and some of the many synthed-out gures in and around Oregon’s iconic hippie stronghold during the 1980s. Whether connected by membership, geography, or the tape trading scene, the artists in and around the EEMC shared compelling visions of the future we now inhabit, vividly captured on home-recorded tapes and distributed via zines, classi eds, and local radio. Switched-On Eugene is a deep dive into a heretofore forgotten sonic microcosm unlike any other. 


    Barry says: A brilliant and enthralling document of the all-encompassing electronic maelstrom of the 1980's, from outsider synth grooves, more percussive outsider electronics and shuddering industrial shadows. Brilliantly varied and thoroughly worthwhile. Another Numero stormer.

    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.

      In the wake of 2017’s Seafaring Strangers: Private Yacht, Numero is proud to present another addition to the soft rock cannon: W2NG. Set your FM dial to smooth and sail away with 42 minutes of uninterrupted easy glide, pontoon rock, and whispery disco. Featuring unreleased burners from Gary Hyde, Love Transfusion, Marshall Titus, and Phillips, alongside scarce cuts from Nannette, Greenflow, Jim Spencer & Son Rize, Larry Sanders, Kettner & Shawe, Orphans of Love, and Lion, W2NG is sure to surprise even the most devout boat shoe enthusiast.


      Coloured LP Info: Blue vinyl.

      Vision Songs Vol. 1 (1984) is the Laraaji album like no other, located at the intersection of new age and gospel. It is both his outlier and magnum opus, the feel-good DIY tape of the century.

      Discovered busking in Washington Square Park by Brian Eno in the late 70s, engagement with the eternal flow has led Laraaji to, seemingly by magic, emerge as the most beloved avatar of the unstoppable new age music revival of recent years. Now Vision Songs rewrites Laraaji’s musical history. Unlike the many instrumental, free form albums upon which his reputation was built, this is an album of songs, with lyrics, verses, choruses. Vision Songs is literally a revelation -- of a master songwriter whose unbelievably catchy best compositions such as “We Shall Be Lifted”, “All Of A Sudden”, and “Is This Clear?” belong in any great American songbook. Casio synth jams recorded at spiritual retreat guest rooms and a tiny bedroom on the Upper West Side, lysergically-spectacular anthems for a continually arriving new moment, “channeled,” as Laraaji states in the album’s eloquent liner notes, “from the sky,” previously available in an edition of 100 cassettes sold at yoga retreats and on the streets of New York City, Vision Songs is humbly offered on vinyl, CD, and streaming for the very first time. This is where this is going on, this is where this is taking place, this is how this is going on. Is this very clear?


      Patrick says: Identifying the god molecule within all of us, cosmic traveller and musical visionary Laraaji fused gospel, hippy soul and New Age into this sublime 1984 LP. Open your mind to DIY casio jams, naive lullabies and songs for world peace.

      Noise Addict

      10,000 Kids With Guitars


        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

          The climactic entry in our four-set Unwound exploration, Empire compiles the final pair of albums by the Olympia, Washington, trio. On 1998’s Challenge For A Civilized Society, the band toyed with conventional verse/chorus form, stacking layers of noise and distraction on top of tightly constructed melodies. They’d abdicate entirely just three years later with 2001’s Leaves Turn Inside You, executing a 14-song masterclass in home recording that observed a crucial band in graceful transition from post-hardcore trio to experimental quintet. The mammoth double album was lost in the chaos of a post-9/11 media, baffling onlookers and exhilirating fans in successive breaths before it fell far out of print. At their reinvention and terminus, Unwound ultimately asked “Who Cares”?

          The Empire box-set teems with period singles, B-sides, unreleased studio tracks, and demos, alongside a 15,000-word essay exploring the terminal stages of the ‘90s, indie rock, Unwound, and civilization as we know it.


          Barry says: Unwound return to our homes, and record collections with this impressive box set. Mixing the off-kilter yet melodic sounds of early hardcore bands with the atmospheric and expansive sounds of noise-rock pioneers means this comes off as an impressive and fitting tribute to a band often unheralded. Add to that the extras and unreleased gems, and you have a collection worth fighting for. Highly recommended as a reminder of one of the best post-hardcore bands of the 90's.


          Live In Chicago


            Captured during their Transaction de Novo tour, Bedhead's Live In Chicago finds the group upon the fabled stage of the Empty Bottle. For their April 16th, 1998 performance, recording engineer Bob Weston set up in the facility's basement, tracking the entire performance onto a mobile 16-track ADAT unit. Mixed by the band and mastered at Chicago Mastering Service, these previously unreleased sessions celebrate the band's live show in ultrahigh fidelity. Limited to 1,000 copies. Includes a download coupon, and three additional tracks recorded in similar fashion at San Francisco's Bottom of the Hill on March 14th, 1998.

            Various Artists

            Lows In The Mid Sixties Volume 54: Kosmic City Part 2


              In the spirit of AIP's dodgy regional garage rock series Highs In The Mid Sixties comes Lows In The Mid Sixties Volume 54: Kosmic City Part 2. This set of roughhewn cobblestones was culled from the remnants of Cavern Sound - Independence, Missouri's subterranean studio of choice - and covers that thin swath of the late sixties when American teens were imitating the Beatles.

              All of the artists here barely mustered a session of cover tunes, much less a single, taking this compilation beyond Nuggets; these songs are gold flecks in the rustiest of mining pans. All brought to you by team Numbero. Numbero: We dig deeper in graveyards so you don't have to.

              Nikki Sudden

              Dark Rags At Dawn

                In 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.

                This career-spanning 7LP box set compiles Sudden’s landmark solo LPs Waiting On Egypt and The Bible Belt, the Dave Kusworth-era LPs Jacobites and Robespierre’s Velvet Basement, Sudden’s Rowland S. Howard collaboration Kiss You Kidnapped Charabanc, and his Creation-issued masterpieces Texas and Dead Men Tell No Tales. Limited to just 500 copies, this set also includes Sudden’s debut solo single “Back to The Start” b/w “Ringing On My Train”.

                FORMAT INFORMATION

                FREE SHIPPING This item has FREE UK shipping!

                She sounded like Saturday night on a Sunday morning. Patsy on Jesus. Elvis without the pelvis. In the space of 20 years Fern Jones would perform in over 2000 tents and churches for nearly 50,000 people. She released two albums ("The Joneses Sing" and "Singing A Happy Song") and a few impossibly rare 78s, and wrote one song that would be a classic on the gospel circuit for years to come ("I Was There When It happened"). This CD, mostly culled from 1959's "Singing A Happy Song" features not one, not two, but four members of Nashville's prestigous A-team fresh off June 1958 sessions with Elvis. Hank 'Sugarfoot' Garland on guitar (Roy Orbison, Hank Williams, Everly Brothers), Floyd Cramer played piano (Johnny Cash, Patsy Cline), Joe Zinkan on bass (Merle Haggard, Loretta Lynn), and the lovable Buddy Harman on drums (Willie Nelson). Its hollerin' rockabilly country and gospel sound is instantly catchy and you can see why she was such a hit on the preaching tent circuit. Essential!!!

                FORMAT INFORMATION

                2xLP Info: Now on deluxe double vinyl pressing in gatefold sleeve with full colour printed inner sleeves.

                2xLP includes MP3 Download Code.

                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.

                  Over the last decade, Numero has been primarily concerned with telling big stories. Stories that cover two or more LPs with word counts in the thousands. Stories with a plethora of photographic evidence. But in that time we've come across an equal number of smaller tales. Tales about bands with a single 45 and a destroyed photograph. Our 700 line of 2x7"s aims to shed light on these darker, humble stories. More mini-Numero album than mere singles, we've packaged and constructed these records with the same care and attention to detail as their bigger siblings. Each replica 45 is housed in a sturdy, tip-on gatefold 7" jacket, with a bonus single of previously unreleased material tucked in the second pocket. Their identical spines and fastidious numbering system is sure to stoke the inner collector. No, not the first incarnation of Kiss, just three wasted kids from Cleveland, Ohio, infatuated with the new wave of british heavy metal. Kick-started in Cleveland in 1979, girls, drugs, sports, and jock rivalry fueled Wicked Lester’s aggressive “fuck the draft” sound. Minted at Boddie in 1981, Wicked Lester’s lone single paired “Here Comes My Girlfriend” with the lovesick, late-Pink Floyd moves of “Say Your Prayers,” recorded on the same ominous day that John Hinckley Jr. shot President Ronald Reagan. We’ve added two unreleased tracks, thrown all four sides into a beautiful gatefold 7” sleeve, and added a couple thousand words about their near-meaningless existence.

                  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.

                  From 1958 to 1993, Thomas and Louise Boddie’s industrious Boddie Recording Company issued nearly 300 albums and 45s, recorded 10,000 hours of tape, and remained in operation longer than any other studio, pressing plant, or label group in the history of Cleveland. Long forgotten even by the standards of the chronically overlooked northeastern Ohio music scene, Boddie was a fusion of its owner’s engineering genius and his limited economic means; its DIY recording studio housed in a humble barn, churned night and day to capture the sounds emanating from Cleveland’s east side neighborhoods. The 58 tracks on these three CDs (or 65 track 5LP) represent the best of the Boddies’ in-house Soul Kitchen, Luau, and Bounty labels, which released an unspoiled treasure trove of kitchen-sink eccentric soul, fuzzbox funk, shoestring doo-wop, and haunted, eerily hook-laden spirituals. Enclosed inside is a mountain of office-styled ephemera: two massive booklets brimming with detail on the Boddies and their artists; extensive notes and scores of unpublished photos; a complete detailed discography folio; reproduced fliers; and a Boddie greeting card—all rendered with the handcrafted charm that was the Boddie hallmark. Call it a self-contained record industry crammed into one box.

                  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

                    4xLtd CD Info: 4xCD box set.

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

                    He was a pusher that became a preacher. A gangster pimp serving soup from the trunk of his Coup Deville. A mutant cross between Robin Hood and Friar Tuck. Everyman, our man on the street, Brotherman. Continuing a tradition that began with Sweet Sweetback's Baadasssss Song, and culminated with Shaft and Superfly, Brotherman was a blaxploitation film set to hit screens in 1975. Prior to the script being finished, the producers commissioned an original soundtrack to be performed by The Final Solution, a fledgling vocal group from Chicago's west side. The 10-song album draws deeply from Curtis Mayfield's well, certainly, but the proof in the pudding is Carl Wolfolk's unique guitar style – a combination of flamenco and funk – that stabs around the four part harmonies. But before even one foot of film was shot, the plug was pulled and the movie was cancelled. Dragged around for 30 years by songwriter and arranger Wolfolk, the tapes of his life's work have finally been mixed, and the soundtrack album has been augmented to include two orchestrated instrumentals intended for the film. Having no stills from the film to work with, the Numero Group tasked Minneapolis' Burlesque of North America to paint a cover that could withstand the scrutiny of any blaxploitation poster geek.

                    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

                    2xLP Info: LP comes in deluxe hard paste-on board gatefold sleeve and has liner notes featuring full musical history of the island, plus a bonus exclusive track.

                    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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