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viewing 1 To 5 of 5 items
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3CD BOX
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NUMERO 035CD
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"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 57 tracks on these three CDs 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ephemera: two massive booklets brimming with detail on the Boddies and their artists; extensive notes and scores of unpublished photos; a complete detailed discography folio; reproduced fliers; and a Boddie greeting card--all rendered with the handcrafted charm that was the Boddie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."
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NUMERO 034CD
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"The second in Numero's series of peeks into the world of regional studios hones in on Mickey Rouse's Lowland operation out of Beaumont, Texas. Long after the Bopper's plane crashed and the Winter brothers (Johnny and Edgar) and Janis Joplin split, Texas' Golden Triangle was home to a vibrant scene of musicians, songwriters, and entrepreneurs just trying to make it in Houston, let alone the world. From the ashes of a vibrant garage and stage band scene, the Lowland studio and its clientele were formed. Holed up in a rundown strip mall, groups like Mourning Sun, Insight Out, Sage, Sassy, Mother Lion, Hope, Circus, and Boot Hill tracked out hundreds of demos, most of which were put on the shelf and left to bake in the South East Texas heat. Until now. Over the last two years, Numero has painstakingly gone through every tape in the studio's archives, selecting the best of the best for this peerless compilation. The songs themselves run the gamut; southern boogie rock, CSNY clones, British blues thunder, garage-psych hangovers, Morricone-esque supper club instrumentals, yacht rock, and what can only be described as Bobby McFerrin fronting the Velvet Underground, are threaded together in the way only a tightly-knit scene can be. Forget bringing these treasures back to life, Numero's giving them the life they never had." Includes a 36-page booklet with extensive notes and rare photos, and a Lowland studio family tree.
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NUMERO 019CD
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"In January of 2006, the Numero Group found itself sitting three wide on a weight bench in a damp garage. Eight hours later we 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 1981-1983, 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 the Fabulous 3 MCs, Recording Tap covers a wide swath of New York's all night sound. The single disc set includes a miniature song book and expansive booklet stuffed with photos and memorabilia, all housed in a miniature replica tape box. Includes rare and unreleased recordings by Arnie & the Lovettes, Annette Denvil, Bonnie Freeman, the Fabulous 3 MCs, Missy Dee & the Melody Crew, Magnetism, and Jackie Stoudemire."
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NUMERO 014CD
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"The second in our series of exploration of the pan-American funk experience, Cult Cargo: Grand Bahama Goombay is a deep overview of funky Nassau's redheaded 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. The 76-minute, 16 track CD features Jay Mitchell, Frank Penn, the Gospel Chandeliers, Dry Bread, Cyril Ferguson, Sylvia Hall, The Mustangs, Ozzie Hall, and Willpower."
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NUMERO 005CD
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"She sounded like Saturday night on a Sunday morning. Patsy on Jesus. Elvis without the pelvis. A mother, a wife, even an ordained minister. In the space of twenty years Fern Jones would perform in over 2,000 tents and churches for nearly 50,000 people. She'd release two albums and a few impossibly rare 78s, and write one song that would be a classic on the gospel circuit for years to come. So why hasn't anyone ever heard of Fern Jones? How is her record selling on Ebay for less than $15? How is it possible that rockabilly scholars can tell you every detail about the players on Fern's album, but not a single thing about her? In what world can a musician be covered by Jimmie Davis, the Blackwood Brothers, Jimmy Swaggart, and even The Man In Black himself, Johnny Cash, and yet register not so much as a footnote in any history of country or gospel music? How could something so wonderful be so impossibly obscure? From a purely historical perspective, we knew we had to release this record. Singing A Happy Song had not one, not two, but four members of Nashville's prestigious A-team fresh off June 1958 sessions with Elvis. On guitar was Hank 'Sugarfoot' Garland (Roy Orbison, Marty Robbins, Conway Twitty, Hank Williams Sr., Everly Brothers), Floyd Cramer played piano (Bobby Bare, Patsy Cline, Wings, Johnny Cash, Chet Atkins), Joe Zinkan on bass (Jerry Lee Lewis, Carl Perkins, Merle Haggard, Loretta Lynn), and the lovable Buddy Harman on drums (Reba McEntire, Hank Snow, Willie Nelson). Why this towering foursome was backing up a preacher's wife from Arkansas is anyone's guess. The lone album Fern Jones released on Dot Records in 1959 was the culmination of almost 20 years on the gospel highway. Singing A Happy Song was Sister Fern bringing the same untamed energy to church music that young white Southerners were bringing to their rock n' roll."
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