We are looking forward to seeing some of you Numerophites this weekend at Pitchfork and just a quick reminder, that the first 50 people who spend over $100+ at our table get a FREE $50 gift card from Converse.
Filed under: A Light On The Southside | Tags: 848, Blurt, Light On The South Side, MIchael Abramson, Pitchfork, Richard Steels, WBEZ
Nice interview that Richard Steele, host of WBEZ’s 848, did with our own Tom Lunt and Michael Abramson.
Joe Tangari chimed in yesterday with an 8.3 on Pitchfork. Seriously, what’s it going to take to crack 9? Are we going to need to reissue an entire city block circa 1968 replete with trees and dogs? Just asking.
Lastly, Blurt blurted a 9 star review this morning. Give it up for Jason Bugg who, when sending the link this AM, included this tidbit:
“I love your label. Seriously. Half of the songs on my wedding CD came from your releases. If I ever get divorced I’m leading off that CD with “Your Replacement is Here.”
If Jason wife is reading this, I’m pretty sure he was joking.
Almost eight months past due, we finally got a solid review on Pitchfork for NUM027 Eccentric Soul: Smart’s Palace. We also got a thoughtful review from them last week on NUM028 Wayfaring Strangers: Lonesome Heroes. Both images link to the reviews for your reading pleasure.
Filed under: Uncategorized | Tags: Cheryl Cole, Construction, Eccentric Soul Revue, Intelligentsia, Light On The South Side, Pitchfork, Reed Pages
If you come here daily, you may have noticed a lack of posts this week. Contrary to what the header might say, this week has been anything but slow. Rather, there’s just so many little things going on that we’ve barely had a chance to dive into anything very deep. In a segment we’ll call Inter-Office Round Up, here’s everything that happened on a micro level this week at the Numero office:
Ken’s office is still under construction, a maddening process that’s already a week over due. Electric finally went in, and maple floors were discovered under the linoleum tile. Michael and Tom began constructing the booklet for Celestial Navigations, which is our longest at 60 pages. Jon Kirby at Wax Poetics called to confirm a few minor details for his Brotherman story in their upcoming Blaxploitation issue.
Most of the morning was spent putting the finishing touches on our semi-irregular e-blast titled, “Increase you record collection 567 CM.” Highlights included:
- Update on where Light: On The South Side is and status of preorders (they’ll be here in about a week and a half.
- News about the Eccentric Soul Revue. We’ve added dates in Chicago and Detroit, and have added Pastor T.L. Barret and the Youth For Christ Choir to the Chicago date.
- Hocked our recent releases. Hocking of merchandise was also done.
- Announced the next few releases: 030 Good God! Born Again Funk CD/2LP, 031 Celestial Navigations: The Short Films Of Al Jarnow, 032 Syl Johnson: Complete Recordings 1959-1972.
We also cleared a sample for the new Consequence record. The remainder of the day was spent trying to delete Rapid Share links of 24-Carat Black, which had spread like poison oak over the weekend. By the end of the day we had sold out of the special edition of Light: On The South Side.
A new design for 014 Grand Bahama Goombay LP was finally sent out. We want the entire LP line to fit together, and between these re-dos for 006 and 014 (with 010 and 015 to follow), we’ll get a little closer. We’re apparently going to be featured in the next issue of Reed Pages. Cool magazine with great ads. The Celestial Navigations documentary continues to be a thorn in our collective sides, as we try to complete it by the end of the week. The final Syl Johnson track was brought in for sequencing. Polydor UK got in touch about Cheryl Cole wanting to sample “Nevermore.” We’ll see how that pans out. Also, it looks like we’ll be having a Light: On The South Side release party at the Cultural Center on the 1st of November. Intelligentsia will co-host and provide a special roast called 24-Carat Blend.
Michael spent the morning at the Shel Silverstein archive talking about their tape library. Chris went home sick midday (spoiler, Rob catches the bug and is out Friday). Sequencing for Syl Johnson box set seems close. A few tweaks will be made when we figure out exact dates for the unreleased material. Finally laid our ears on the tape for Mae Young’s Big Mack recordings. So much stuff is going on there, the 45 does no justice. While we had the tape machine on we queued up an unreleased Arthur Williams produced session. Female vocals over a competent three piece. Nothing revelatory, but always fun to listen to something that no one has heard since the day it was recorded. Near the end of the day, Pitchfork ran a little news story on LOTSS and the Revue. Lastly, the tape for the Ant Hill Mob Eccentric Soul 45 was sent off to be mastered and plated. More details on this forthcoming.
It’s only 10:45 AM, not too much has transpired. Rob, as previously mentioned, is out sick. His lungs are filled with fluid, which doesn’t sound terribly pleasant. Get better, old friend. Designs for Ken’s new office shelves are in, shit is custom to the hilt. Roll out 45 drawers? Bonkers. Drywall is up, hardwood floors need to be sanded. Our front room could be empty by the end of next week. Fingers crossed! On the docket is the arrival of the Good God! Born Again Funk promo CDs. We’ll blasting upon arrival, for sure.
So that’s what a week looks like here. Tiny increments of either progress or erosion (depending upon your perspective) coupled with the inanity of everyday office existence. Sometimes you turn on your computer in the morning and think, God damn am I lucky to be here.
It’s starting to get to us.
We got a great review for Local Customs: Downriver Revival from Patrick Sisson today in Pitchfork. We’re loving his comments on the DVD, “…that includes a 30-minute documentary and an interactive sound vault with over 200 extra tracks, arranged by individual boxes of tape. It not only makes most bonus DVDs look like cheap wastes of plastic and time, it lets listeners virtually walk into the lost basement studio in Ecorse, Mich., and view some of the people and places that seeped into Double U’s reels of tape.”