Perhaps some of you received Taschen’s Rock Covers as a holiday gift from a loved one? Did you realize a subtle abundance of Numero-oriented covers among the bunch? While not intentional, this is no coincidence. Long before he washed up on our doorstep, Jon Kirby was producing this book with New Yorker and former Wax Poetics colleague, Robbie Busch. Released in December, the book is already in its second pressing. Here are a few of the most significant Numero moments ℅ Jon Kirby.
Henry Diltz has taken approximately 9 trillion important photographs, among them, the cover to Ned Doheny‘s self-titled debut. Through Ned, I got to know Henry, who was patient enough to engage in this long-form interview.
According to an interview in Right On! Magazine, a few illustrators from Tron helped execute the cover for Andre Cymone’s full-length debut. By the way, the album cut “Trouble” is one of the greatest distillations of the Minneapolis Sound.
Moshe Brakha photographed Ned’s second album cover, and provides his account of the shoot in Baja Mexico. A few omitted passages from this interview got mixed into the lengthy liner notes for Ned Doheny: Separate Oceans.
We talked about Kim Fowley’s interactions with the Numero Group a few months ago in this blog post. Kim treated me to a few colorful history lessons over the course of this book. He summoned this final nugget from his hospital bed, a few months before his untimely passing. Kim! You were awesome!
We riffed on this album cover over a year ago amidst a purple snowstorm, due to the fact is was coincidentally photographed in Dez Dickerson’s father’s St. Paul office. Numero completists may recall that we issued an expanded edition of Husker Dü’s debüt a fü years back for Record Store Day.
A fantastic cover and fodder for a pretty robust Jay-Z sample, Ray Levin of Little Boy Blues told the story of shooting this album cover at the Skokie Lagoons on the outskirts of Chicago. We have just recently issued two previously unreleased Little Boy Blues singles on picture-sleeve 45.
Pretty much what we would expect on the cover of Circuit Rider. Glad to know they took a real snake skin in there.
A few select selectors were asked to provide ten-album bundles that embodied what great record art to meant to them. In this regard, Lenny Kaye is a no-brainer. Kaye will make his Numero Group debut via our upcoming Ork Records compilation, playing the part of Link Cromwell.
If you want to know what drove Kansas City’s Titan Records to make the kind of releases they did, look no further than co-founder Tom Sorrell’s rundown.
Filed under: Little Boy Blues
Even by The Black Album standards, “Public Service Announcement (Interlude)” is monstrous. Situated all the way back at Track 10, Just Blaze constructed Jigga’s arena rap anthem using large swaths of “Seed Of Love” by Chicago psych rock band, Little Boy Blues.
After a handful of successful singles, Fontana Records commissioned In The Woodland Of Weir in 1968. On cover, Little Boy Blues posed among articles that relate to song titles, just out of view from the highway that skirted the Skokie Lagoons.
As The Black Album had alleged, In the Woodland Of Weir was in fact Little Boy Blues’s final album. If they’d produced a resurrection LP a la Kingdom Come, it would have no doubt begun with the unreleased “Nothing Left To Say,” which itself seems ripe for a Just Blaze production. Slapped on the B-side of Numero’s ode to Little Boy Blues is the reworked album cut, “Mr. Tripp Wouldn’t Listen,” featuring 17-year-old Frank Biner, an R&B vocalist who bolted at session’s end to pursue a career in California. Housed in a gorgeous pic sleeve, this 7-inch provides an encore for Little Boy Blues fans who want more.
P.S. Guitarist Peter Pollack wound up in Morning After, featured in the Eccentric Soul Omnibus.