‘Two sets of identical teenage twins, Alfred and Alvin Pelham, and Keith and Kirk Gardner, along with Ricky Spicer. The group released a couple of singles and this lone album for Cleveland’s Saru label in 1971, breaking up and disbanding as adolescence waned. A recent sample darling of both Kanye West and Tyler The Creator, Bound has revealed the Ponderosa Twins Plus One as the real Midwest kid soul deal.
‘Freshly remastered from the original analogue tapes, adding two previously unissued bonus tracks; in a replica tip on sleeve.’

‘Wasulu hunter music, griot praise-song, Senufo pastoral dances, Fula and Mandingo music, hypnotically mixed in with Western psychedelia, blues, and afro-beat; led by Zani Diabaté’s stunning guitar-playing. Recorded at Radio Mali in 1982.’

‘A disciple of mambo innovator Perez Prado, the Cuban-born Modesto Duran was a pivotal figure in Latin dance music’s transitionary mid-century period. His gentle slaps can be heard across dozens of 1950s mega-sellers, from Esquivel to Belafonte, Eartha Kitt to Lena Horne. On his 1960 solo debut, Duran gathers a who’s who of conga-men, including Mongo Santamaría, Willie Bobo, and Juan Cheda, delivering a cinematic and percussive melange of afro-cuban, cha cha, and exotic jazz styles.’

‘An overview of his earliest works, gathering selections from his 1978 debut Celestial Vibration and six additional studio sessions from the era. Full of discovery and wonderment, Glimpses of Infinity is a miraculous chronicle of new age’s most fabled artist.’

Twenty-six shots of late-night R&B out of Jim Kirchstein’s Cuca studio, in the late sixties.
Originally released via minuscule pressings into the Wisconsin wilderness, tracing the paths across the hinterlands of Highway 12 between the Chicago, Milwaukee and Rockford soul scenes.
The likes of Harvey Scales, Betty Moorer, The Twiliters, Birdlegs & Pauline, The Esquires, Artie & The Pharaohs… in another gem-studded chapter of the alternate history of soul music.

‘Red Greg’s edit of this disco holy grail.’

‘Triumphant experiments in privately-issued sci-fi soul music; lonely transmissions from a planet in a state of cultural fugue. Packaged in a one-way portal to the further limits of expression. Some assembly required.’

Deeply dug up, Numero-approved folk and rock covers of songs impossible to delete from the collective unconscious of Pop (however hard you hit the button).
Done-over Boz Scaggs, War, Redbone, Steely Dan, Fleetwood Mac, Neil Diamond, John Denver,Glen Cambell, Smokey Robinson, The Carpenters, Joe Cocker, and something ostensibly from Willy Wonka.

‘This thirteen-track compilation exhumes forgotten brilliance from the Afroamerican underground of the 1970s. Awash in fuzzed-out guitars, wah-wah pedals, lysergic-soaked grooves, and enough inflation depression to fill the tank of a shag wagon, If There’s Hell Below imagines a world where Hendrix lived on and Funkadelic never crawled out of the garage.’
Transparent red vinyl.

‘Maxx Traxx (and Third Rail before them) were a scene unto themselves in early 80s Chicago, happening live on-stage five-plus nights a week. Their two LPs, both recorded in 1982, are like catching a bullet train, a sheer energy ride almost too explosive to be captured by studio tape. Hop the turnstile and move with this complete document of Chicago’s last great club band told in detailed text, newly revealed photos, and complete studio recordings painstakingly remastered.’

‘A sonic snapshot of America’s steel capital, probing the fertile cavern between the departure of the Jackson 5 to Motown and the collapse of U.S. steel… a love letter to Gary, Indiana, salvaging twenty-plus lost songs from the southern-most tip of Lake Michigan. Housed in a deluxe tip-on gatefold jacket, with a 16-page booklet crammed with photos, ephemera, and an in-depth essay, Skyway Soul connects the dots between The Spaniels, Michael Jackson, and Freddie Gibbs.’

‘Operating in the farthest margins of L.A.’s cutthroat music business from 1961-1991, Mel Alexander’s Consolidated Productions was among the longest running Black-owned independent record conglomerates of the 20th century. Disentangling a web of imprints — including Ajax, Angel Town, Car-A-Mel, Emanuel, and Kris — this first volume gathers 28 smouldering R&B cuts by the likes of Lee Harvey, B .B. Carter, Marilyn Calloway, the Del Reys, the Deb Tones, the De Velles, Gene Russell ’s Trio, Jimmy ‘Preacher’ Ellis, and Ty Karim.’
Presented with customary class and attentiveness by Numero.