Numero Group: By The Numbers

Record Store Day 2017: Numero Style

It’s that time of the year again. Wait, that’s exactly how we started this off last year. We’ve run out of ideas, folks. From here on out it’s going to be one rehash after another, as we trot out both tired tropes and borderline product in a vein attempt at maintaining RSD cred. We’ve tried to do interesting things in the past, be it WTNG or Los Alamos Grind! Our hope was that the average RSD chud-thumber might need a break from flipping past 311 triple 11” box sets, Feldman & Haim rap 12”s, and Mac Demarco reading fan tweets EPs. But it turns out that most people just want the same reheated garbage every year. You’ve been burned before with long lines and punishing prices, and if we get our way it’ll be more of the same, with hopefully longer lines and even higher prices. Who are we to argue with your terrible life choices?

But this is Numero, after all, and if we’re going to go big, we’re going to do it in a way that surely frustrates record buyers. In the past when we trotted out Hüsker Dü and Dinosaur Jr. sets, we pressed them in quantities that insured against the flipper economy. We wanted to make enough so that average fans who didn’t set up tents on the street the night before RSD would have a chance to buy our wares at an affordable price. Not this year. This year we’re pressing just enough copies to make you wonder if we actually pressed anything at all. The only way you’ll know for sure is if you come to one of our pop up stores (details below), pop a tent, or get a bowl of Pop Secret in your lap for the long, dark night of eBay refreshing for the soul.


NUM710 White Zombie: Gods on Voodoo Moon 7”

Recorded in two hours as the cheapest studio in the phone book, White Zombie’s sophomore single Gods On Voodoo Moon is back in print on 45 for the first time since bassist Sean Yseult hand-photocopied 300 copies at the Parsons campus print shop in 1985. Limited to 2000 copies on Zombie Blood, Zombie Puss, or Zombie Black colored vinyl.


NUM207 Noise Addict: 10,000 Kids With Guitars 2LP

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.

Compiled here are 25 tracks, including their Evan Dando-worshipping satire “I Wish I Was Him,” the Thurston Moore produced demo, choice cuts from their Grand Royal-issued EP and LP, and covers of “Let’s Lynch The Landlord” and “Back In Your Life.” The entire sordid adolescent tale is covered in incredible detail inside the black and white 16 page zine. And finally, for the first time in the history of record pressing, and for no good reason at all, the cover for 10,000 Kids With Guitars doubles as a working chalkboard. Limited to 2000 copies on black vinyl.


NBR008 Southwest Side Story Volume 19

There are hundreds of bootlegs out there to sate the ravenous soulero set, and so often they incorporate songs in the vast Numero catalog. Rather than beat them, Numero joins them with our answer to the iconic East Side Story series. Eschewing our classic look and standard-bearing copious notes for sardonic artwork and impeccable selections, Numbero is proud to present a ‘bootleg’ you can be proud of (because it’s all licensed). This time we’ve set our sights on the most unique of soul cultures: the irreplicable melting pot of San Antonio. Included here are all songs never before issued other than in minuscule pressings on 45, never distributed outside of Bexar County limits.

The Southwest Side Story rolas are obscure everywhere in the United States while eliciting intense nostalgia on the South and West Sides of San Antonio to this day. This could be a greatest hits of DJs like Henry Pena, who began his rein in the ’60s and continues it today with many of these same selections. Including such local luminaries as the Royal Jesters, Sonny Ace, the Dreamliners, Al Castana, Dino Bazan & the Dell Tones, George Jay & the Rockin’ Ravens, the Eptones, the Volumes, and Henry Pena, who never fully disappeared from view in the Alamo City. This nicely supplements our other San Antonio collections without redundancy. Limited to 2000 copies on black vinyl.

Numero Group Pop Up Stores: Chicago & Atlanta

With the Factory Outlet tour and Record Store Day overlapping, we decided to set up not one, but two stores on April 22nd 2017. As has been our habit for the last four years in Chicago, we’re setting up in Logan Square’s Comfort Station from 10-5PM. In addition to an assortment of trusted dealers shucking used 45s and LPs, we’ll have every in-print Numero LP, CD, 45, and whatever other miscellaneous debris we can find on hand at the lowest prices we can afford to sell them at. And, as has been a staple of our sales, we’ll be unloading hundreds of LPs with dinged corners at prices just barely above cost. Condition freaks need not browse these bins, but those looking to round out their Numero collection on the cheap should be sure to bring ample time and cash.

Numero Group Chicago Pop-Up Extravaganza

Saturday, April 22nd 2017
Comfort Station
2579 N. Milwaukee Avenue
Chicago, IL 60647

In Atlanta we’ll be doing something much more absurd. Sure, we’ll have all the exclusive items, the dinged stock, and yeah, even a limited-to-200 replica of Sonia Ross’s brilliant Tragar 45 “Every Now And Then” b/w “Let Me Be Free.” But when our art director Henry Owings got involved, we all wanted to crank it up a notch. With the help of our pals at Pabst, we’ve rented a 350 gallon dunk tank. Yes, for the low cost of $1 you will have the chance to dunk a wide array of Atlanta’s most reviled sociopaths, plus Numero founders Ken Shipley and Rob Sevier. All to benefit Camp Olio, an East Atlanta nature-based after school program, because we’re such nice people, and also because the world loves to bring a person down a peg by dunking them in a bath of dirty, lukewarm water.

Numero Group Atlanta Pop-Up Extravaganza w/ Dunk Tank

Saturday, April 22nd 2017
529 Flat Shoals Ave, SE
Atlanta, GA 30316

Royal Jesters Release Party Saturday June 20th in San Antonio
June 17, 2015, 12:25 pm
Filed under: Epstein Recording Co., Royal Jesters

This Saturday June 20th, we mosey on down to San Antonio to celebrate the release of Royal Jesters: English Oldies. There will be era/aura appropriate DJ sets by our own Rob Sevier, Ruben Molina (Southern Soul Spinners, Los Angeles), and Rae D. Cabello (who made the snazzy flyer below). We feel fortunate to be able to mark this occasion with the fine people of San Antonio before we take the music of the Royal Jesters to the global masses next Tuesday.

Hitones + 621 E. Dewey Place, San Antonio, TX

$3 at the Door


Soundtrack to a Perfect Summer – Royal Jesters: English Oldies
May 18, 2015, 1:01 pm
Filed under: Royal Jesters | Tags: , , , ,


Twenty-eight homespun stunners from the Alamo City’s scrappiest souleros. The Royal Jesters were the kings of San Antonio’s cross-cultural teen scene in the 1960s, soundtracking lovelorn slow dances with their heart-sick harmonies. For the first time, English Oldies gathers the best early doo-wop, R&B, and blazing Latin rock and soul from these Tex-Mex masterminds—a simmering melting pot of diverse regional flavors, best served hot.

The Numero Group Top 10 of 2013
December 20, 2013, 1:41 pm
Filed under: Dynamic, Good God!, Iasos, Lists, Medusa, Mind & Matter, Unwound



Every year we like to poll the team to see what everyone who makes this battleship float has actually enjoyed listening to. Catch up on 2012, 2011, and 2010 if you give a shit. 


#10 Otis G. Johnson: Everything—God Is Love

Pretty cover

#9 Pretty Mustache In Your Face


#8 Eccentric Soul: The Dynamic Label


#7 Mind & Matter: 1514 Oliver Avenue (Basement)


#6 Kathy Heideman: Move With Love


#5 Unwound: Kid Is Gone


#4 Good God! Apocryphal Hymns


#3 Medusa: First Step Beyond


#2 Iasos: Celestial Soul Portrait


#1 Purple Snow: Forecasting The Minneapolis Sound

The Republic of Texas: Numero style
March 20, 2013, 1:52 pm
Filed under: Dynamic, Eccentric Soul, Epstein Recording Co., Methodology


It’s been quiet around these parts the last week, with nearly half our staff in Texas either working on projects or solidifying our position as the greatest reissue label in the world. Rob Sevier nailed down catalogs in Houston and continued to research the follow up to Eccentric Soul: The Dynamic Label (with help from our San Antonio connections, Rae Cabello and Chris Varelas). That project, a triple CD/quintuple LP tentatively titled Epstein Recording Co.: San Antonio, Texas, is slated for a 2014 release, and is something of a dissertation on the “West Side Sound” that cropped up in the Alamo City in the early ’60s. Ken Shipley participated in panel on archiving for the Library of Congress at SXSW. The rest of us got wasted.

While we were gone we missed the release date for Dynamic (which you should really consider purchasing), and returned to find a mid-depth interview on our Texas holdings in the latest issue of Texas Monthly by long time Numero supporter Andy Beta.


Read on.

Now Available: Eccentric Soul: The Dynamic Label



Eccentric Soul? Can we continue to release records in our flagship series after going so far out into the stratosphere with the ridiculous 045 Eccentric Soul: Omnibus? It’s been a long time since we’ve even done a standard Eccentric Soul release (if there is such a thing), going back to last May’s Red, Black, & Green ProductionsIt’s going to take something really special to get this series back on track, and without a doubt The Dynamic Label is it. Even label proprietor Abie Epstein knew it was something special, and cordoned it off from the esoteric muddle that filled up his Cobra and Jox labels by the mid-1960s. The Commands were one of those groups that truly seemed destined for national or international greatness, and only a combination of foibles and missteps seemed to snatch defeat from the jaws of victory. The Webs moved on to New York and quite nearly made it there with a few songs that nibbled at the charts. The usual motley crew of one-offs (half-offs, really) and no-hitters supports as usual. Check out the needledrop here for a taste of the poison:


It doesn’t matter that this was several years in the making, that several other labels (over the decades) tried and failed to get a crack at issuing the Dynamic label’s bounty, this thing is, without hyperbole, a distillation of pure joy into musical form and the same feeling one feels the first time they hear soul music. Just as good listen after listen after listen (so say the folks who have had this stuff on repeat for years.) Buy the Dynamic label, it is on sale now (shipping to arrive close to the release date of March 14th. 

Dear Jerry
February 18, 2013, 1:00 pm
Filed under: Dynamic, Eccentric Soul, The Commands, Uncategorized | Tags: ,


The year Jerry Wexler helped sign Led Zeppelin to Atlantic Records, he was offered a much less potentially lucrative offer: a license deal for the latest single from The Commands. After Abie Epstein’s failed agreement for The Commands’ first single with Don Robey’s Backbeat label, his correspondence shows he started looking north of the Mason-Dixon for better options. Help from above never came, and the Dynamic label continued it’s downward spiral. Much more on this in the forthcoming Eccentric Soul release The Dynamic Label, coming March 12 (available for pre-order very soon.)

Meet the Commands
February 8, 2013, 12:53 pm
Filed under: Dynamic, The Commands | Tags: , , , , , ,


Eccentric Soul: The Dynamic Label‘s release date draws closer and closer (March 12th for the uninitiated). Over the next few weeks we’ll be introducing the groups and their music in a series of posts.

The most artistically rich act to emerge from Abe Epstein’s army of San Antonio labels was the Commands. The group’s earliest stages can be traced back to Billings, Montana, with Sam Peoples. A dedicated choir leader at the First Baptist Church in his Herlong, California, hometown, Peoples recalls the circumstances of his turn to secular music with little regret. “I would say necessity was the determining factor,” he said. “While attending Rocky Mountain College in Billings, the need arose for immediate finances to assist in the necessary college expenses. And since I had sang with four local vocal groups in Herlong, I figured that singing was my best bet. I starting singing for private clubs and parties and finally graduated to the Bella Vista, the number one club in Billings.” Upon graduation in 1962, Peoples enlisted in the Air Force and was assigned the role of Air Traffic Control Tower Operator in the 2015th Communications Squadron at Randolph Air Force Base near San Antonio.

Randolph AFB would serve up two more Commands. Co-founder Emanuel Grace came from a church background himself, singing in the choir through his years at South Philadelphia High before he felt R&B’s tug at the hem of his robe. Following high school, he too joined the Air Force and was uprooted to Amarillo, Texas. There, his singing career began in earnest, as talent show victories piled up under the banner of the Dream Chords. Grace’s reassignment to Randolph in October 1962 put him on his collision course with Sam Peoples.

Hailing from another Eastern American metropolis, Spanish Harlem-born Puerto Rican Isaac “Jack” Martinez, according to his 1966 biography, brought a “strong New York influence” to the Commands. But, as he’d high schooled in the Long Island suburb of Brentwood, New York, his Big Apple pedigree seems a tad overstated. Further complicating this background was KTSA DJ Rod Wagener, who spoke of Martinez’s short-lived tenure in the Brentwood-based Tymes but had confused them with the actual hit-making Tymes of Philadelphia. In any case, duty called Martinez as it had the others. While serving as an aeromedical technician at Randolph AFB, Martinez happened upon an early rehearsal of the Originals, which featured Peoples, Grace, Robert Ben, and Autry Raybon—the latter of them badly off-key and in need of a tap-out.

Compelled by the amenities afforded members of Tops In Blue—the Air Force’s performance ensemble featuring active duty officers who toured military bases rather than Southeast Asian jungles—Peoples and Grace aimed to assemble a top-notch vocal group of their own, one that might spare them the horrors of battle and, in Grace’s case, the horrors of reshelving books as the AFB’s library custodian. With Jack Martinez subbed in for Raybon, the quartet got serious, implementing a moniker fit for the military Star Search they’d play to. Pandering a bit to their captive audience, they went with the Commands, borrowing G.I. jargon for a group of air force bases.

The newly minted Commands won regional competitions for inclusion in the Tops In Blue touring company, putting them on a circuit of airbase performances. Joining them on that circuit was an oddball Christian-themed folk duo called the Newton Singers—one Singer exhibiting a mesmerizing alto. It belonged to Dan Henderson, born in Chicago and raised in Pittsburgh and Dayton. Henderson was weaned in the world of gospel, as both a trumpeter and a choir member. In high school, he sang with both the Customs and a pre-“I Really Love You” iteration of the Stereos, before enrolling in Chicago’s Roosevelt University in 1961. Three years later, he joined the Air Force as a weather observer at Chanute AFB in Rantoul, Illinois. There, he and Pat Coffey formed the Newton Singers, a moment Henderson thought of at the time as “the single most important event in my life.” After the Newtons’ and Commands’ mutual Tops In Blue tour ended, Henderson was granted transfer to Randolph. After sitting in on a few Commands rehearsals, he was officially asked to join at the end of 1964, replacing Robert Ben. They’d spend the next six months making touchdowns at various Texas bases—but with no presence in the civilian world, it seemed unlikely that the Commands might bottle their magic before the next deployment. How Abe Epstein ended up at a performance at Randolph’s Hunt & Saddle club remains a mystery, but his bond with the Commands formed that night, and a pact to record was voiced.

The first sessions the Commands executed for Epstein Enterprises, in the early part of 1966, were uncannily flawless. Backing was provided by the Dell-Tones, a group of younger Latino kids, who cut a slew of Spanish- and English-language rock and ranchero records for the Cobra label that same year. The plug side, “No Time For You,” was swiped from another local export: The Justifiers. Helmed by Archie Satterfield, with Melvin Porter, Roger Blackwell, and songwriter Bennie Cherry pulling up the rear, the Justifiers formed in 1962 in the hallways of St. Phillips College. Four uneventful year later, they were performing “No Time For You” at a city-wide talent show held at Central Library Auditorium. On that same bill were the Commands. Cherry’s original “No Time For You” didn’t place, but Epstein fell head over heels for the mid-tempo ballad and insisted the Commands record it. For the flip, the Henderson-penned “Hey It’s Love” was selected, and when time came to put credits on the label, both Peoples and Henderson got the nod for “No Time For You.” Days later, Epstein was making the white-label rounds to his usual cadre of on-air suspects—and response was overwhelming. The Commands’ first single blanketed San Antonio airwaves, going #1 at KTSA, KUKA, KBAT, and KONO and radiating swiftly across the rest of the Lone Star State. “No Time For You” then broke out, getting picked up in numerous other markets by distributorships as far west as San Francisco’s C&C, in the north by Chicago’s Allstate, further south by Miami’s Tone, and in the east by Newark’s Essex. Tens of thousands of records were shipped in the first 30 days of the single’s February 1966 release.

Hoping to upstream the regional—and growing national—interest in the Commands, Epstein sent singles out to major record companies. Months of rejection letters followed, and after Cleveland’s O’Jays released their take on “No Time For You” on Imperial that spring, Epstein ushered the group back into the studio and cut Henderson originals “Don’t Be Afraid To Love Me” and “Must Be Alright” and scheduled them for two sides of a June release. At the eleventh hour, Peacock’s Don Robey made an offer to reissue “No Time For You” on his Back Beat imprint, and Espstein put plans for DY-109 on hold. Issued the last week of June 1966, Back Beat 570 featured an alternate mix of both Dynamic 104 sides; according to period correspondence with Peacock A&R man Robert Sye, the Back Beat disc has a “distinct difference in resonance.” Within a week, both WAME in Miami and XEWV in Los Angeles had playlisted it and Peacock had shipped 5,000 singles. But sometime that summer, relations with Robey’s Houston concern soured. A letter dated August 25 records Don Robey’s animated chastisement of Epstein over a missed Commands opportunity, an Atlanta opening slot for Buddy Ace. Subsequent letters unfold in a series of exchanges between Epstein and Robey attorneys, in squabbles concerning an unsigned contract and unpaid royalties. By September, the Commands and Back Beat had broken rank, and Epstein was back to square one.

Listen to a mix of Commands songs below:

The 1966 San Antonio Yellow Pages lives again
February 7, 2013, 8:48 am
Filed under: Dynamic



In anticipation for our upcoming Eccentric Soul: The Dynamic Label CD and 2LP, over the next four weeks we’re going to be sharing a ton of ephemera that didn’t make the booklet. Abe Epstein didn’t save every scrap of paper that crossed his desk, but what he did save provides a fascinating glimpse into San Antonio’s melting pot music scene. Above are two pages from the Alamo City’s 1966 Yellow Pages. Some of our favorite nuggets are as follows:

“Our reputation for the finest dance floor, good music & well behaved customers assures you of an enjoyable evening” (A club name like Farmer’s Daughter doesn’t exactly scream well-behaved)

“Spanish Colonial atmosphere” (Architecture is important)

“Bring your own booze and dance to live music at the Spook House” (Both offensive and a terrible business model for a nightclub)

“All popular brands of cigarettes” (As opposed to carrying the brands no one smokes)


The Numero Group Invades San Antonio
January 15, 2013, 9:03 am
Filed under: Dynamic, Eccentric Soul, Epstein Recording Co., Newsworthy


Last year, a tease for work we were doing in San Antonio, Texas, appeared in our brief obit for Alamo City real estate mogul and recording maven Abe Epstein. After beating a path down to South By South West, our own Zach Myers and Rob Sevier lay waste to the town, returning with no less than three projects in tow. With the first two well into production, we’re finally ready to unleash their full details.


NUM043 Eccentric Soul: The Dynamic Label CD/2LP – Available March 19th 2013

Born out of the largesse created from Rene & Rene’s Hot 100 Tejano tornado “Angelito,” Dynamic Records was but one of half a dozen labels run by San Antonio music and real estate mogul Abe Epstein. His flag ship group, The Commands, took their AFB circuit-honed chops up to the middle of the charts in 1966 with “No Time For You,” paving the way for 20 other soulful singles over Dynamic’s impressive two and a half year run. Epstein’s open door policy led to a diverse cross section of the population converging inside his studio on General McMullan Drive, as whites, blacks, and Latinos were swapped in and out of groups as needed. That melting pot mentality is well represented by The Tonettes, Little Jr. Jesse & the Tear Drops, Don & the Doves, Willie Cooper & the Webs, Bobby Blackmon & his Soul Express, and Doc & Sal.

CD track list:

01. Commands – Hey Its Love

02. Little Jr. Jesse & The Tear Drops – Give Your Love To Me

03. Tonettes – I Gotta Know

04. Doc & Sal – Can’t Get You Offa My Mind

05. Commands – I’ve Got Love For My Baby

06. Willie Cooper & The Webs – You Don’t Love Nobody

07. Little Jr. Jesse & The Tear Drops – Ain’t No Big Thing

08. Commands – No Time For You

09. Webs – Little Girl Blue

10. Tonettes – My Heart Can Feel The Pain

11. Doc & Sal – Cry & Wonder Why

12. Commands – Don’t Be Afraid To Love Me

13. Willie Cooper & The Webs – I Can’t Take No More

14. Don & The Doves – Together

15. Webs – Don’t Ever Hurt Me

16. Commands – Must Be Alright

17. Bobby Blackmon & The Soul Express – She’s Gotta Have Soul

18. Doc & Sal – Laughing to Keep From Crying

19. Webs – Try Loving Me

20. Commands – Too Late To Cry

21. Doc & Sal – My Dream

2LP track list:

A01. Commands – Hey Its Love

A02. Little Jr. Jesse & The Tear Drops – Give Your Love To Me

A03. Tonettes – I Gotta Know

A04. Doc & Sal – Can’t Get You Offa My Mind

A05. Commands – I’ve Got Love For My Baby

A06. Willie Cooper & The Webs – You Don’t Love Nobody

A07. Little Jr. Jesse & The Tear Drops – Ain’t No Big Thing

B01. Commands – No Time For You

B02. Webs – Little Girl Blue

B03. Tonettes – My Heart Can Feel The Pain

B04. Doc & Sal – Cry & Wonder Why

B05. Commands – Don’t Be Afraid To Love Me

B06. Willie Cooper & The Webs – I Can’t Take No More

B07. Don & The Doves – Together

C01. Webs – Don’t Ever Hurt Me

C02. Commands – Must Be Alright

C03. Bobby Blackmon & The Soul Express – She’s Gotta Have Soul

C04. Doc & Sal – Laughing to Keep From Crying

C05. Webs – Try Loving Me

C06. Commands – Too Late To Cry

C07. Doc & Sal – My Dream

D01. Little Jr. Jesse & The Tear Drops – If You Don’t Love Me

D02. Webs – Can’t Let You Go

D03. Commands – A Way To Love Me

D04. Little Jr. Jesse & The Tear Drops – It Keeps Rainin’

D05. Don & The Doves – I Need You

D06. Bobby Blackmon & The Soul Express – You’ll Find Another

D07. Commands – Around The Go-Go

Mickey cover

CT-102 Iron Leg: The Complete Mickey & the Soul Generation 3LP – Available May 2nd 2013

Erupting at the same time, but at a different studio, was the mixed instrumental combo Mickey & the Soul Generation. Best known for their 1969 paper hit “Iron Leg,” the group came to semi-national attention following Nipsey Russell’s performance of the Iron Leg dance on Johnny Carson. Though they shared a label with Ben E. King, they lacked access to the same promotion and marketing resources. A tour with Sam & Dave and opening slots for James Brown, Kool & the Gang, and The Supremes found them performing for thousands nightly, but still sleeping on floors. By the mid-’70s the group had fractured, with members joining the army, bottling Coke, and starting families. Their run would end in 1977 with two members turning in a passing Average White Band impression called “Southern Fired Funk” before their handful of 45s fell completely out of vogue and made their journey to thrift shops and cut-out distributors.

At the dawn of the century, Josh Davis (AKA DJ Shadow) tracked Mickey and his Soul Generation down for the purpose of reissuing their recordings on his upstart Cali-Tex label. “Mickey and the Soul Generation are my favorite funk band,” Davis wrote in 2002. “They were strong contenders for the title from my very first listen back in ’92. ‘Iron Leg’ being the standout track on an otherwise flaccid jazz-funk compilation of the day. Already a favorite rare-groove selection in the ever-accepting UK club scene, I too found myself buoying my bedroom DJ sets with snatches of the irresistible Soul Generation Sound. It became an instant priority of mine to locate an original.” That 2003 reissue was met with critical praise, and ultimately turned a new generation of music lovers onto rare funk and soul. Numero has gone back to the scene of the crime and re-canvased for new leads, helping Davis expand on his original work, with updated liner notes, tons of newly discovered photos, and a previously unreleased track.

3LP track list:

A01. Iron Leg 

A02. Football 

A03. Up The Stairs And Around The Bend

A04. Give Everybody Some 

A05. Joint Session 

B01. The Whatzit

B02. Get Down Brother 

B03. Mystery Girl 

B04. Message From A Black Man 

B05. Chocolate

C01. How Good Is Good 

C02. We Got To Make A Change 

C03. Soulful Sickness

C04. U.F.O 

C05. Hey, Brother Man Carter

D01. Southern Fried Funk (1st Movement) 

D02. Southern Fried Funk (2nd Movement) 

D03. Hey, Brother Man (Pams Demo) 

D04. U.F.O (Pams Demo)

D05. Listen (To The Cry Of The People)

E01. The Get Down (Live) 

E02. Working On Your Love (Live) 

E03. Help (I Need Your Love (Live)

E04. Why You Wanna Leave Me (Live)

F01. Life’s A Mystery (Live) 

F02. Hey, Brother Man (Live) 

 These two albums represent Numero’s first forays into a seemingly bottomless well of San Antonio soul, R&B, funk, Latin, and garage. This scorched earth campaign will continue into 2014 with our Epstein Recording Company 3CD/5LP.