…Over the course of those decades, Ace Records has established a number of long-running series including their Songwriters and Producers lines. A recent release in the Songwriters series celebrates two of the all-time greats in both categories: Philadelphia’s Kenneth Gamble and Leon Huff. Love Train: The Gamble and Huff Songbook brings together 24 songs from the Philadelphia International Records duo who also formed two thirds of Mighty Three Publishing along with the late Thom Bell. Though some of PIR’s brightest lights are represented here (The O’Jays, Harold Melvin and The Blue Notes, Lou Rawls), the collection draws heavily on the songs written by G&H that left Philly to resonate in Detroit, Memphis, London, Jamaica, and beyond.
Tag Archive: Ace/Kent
This year’s “in” black music style is the slow, sweet groove of soul harmony ballads. Interest has grown over the last decade and now the rarer of these records regularly reach four figure prices. This interest in Soul Harmony has led to Ace forming its own singles label of that name for the purpose of issuing tracks on vinyl for DJs and collectors of this genre.
Though not that expensive, several tracks on here command hefty prices due to demand. The Question Marks on Money, the Puffs on Dore, John Wesley and the 4 Tees’ Melic offering will make a hole in most pockets. We aren’t picking the songs on price though, rather on musical excellence. Hence the recordings by the Mad Lads, Moments, Diplomats and Lee Williams…
Bob Lind has a mighty back catalogue. He recorded his first album nearly 60 years ago; he’s been recording almost consistently ever since, and his songs have been covered by over 200 artists, including Glen Campbell, Aretha Franklin, Dolly Parton, Eric Clapton, Nancy Sinatra and The Four Tops. In recent years, he’s found a musician who really does get Lind musically and spiritually. Producer Jamie Hoover has worked with Lind on the last three of his albums and continues this work on the latest. Joining Lind and Hoover on the album is professor, composer, sideman and session musician George Wurzbach, as well as overdub engineer Brad Gagne at Sentient Sound Studios in North Miami. Between the four of them, they swapped various elements of…
The descending refrain opening the song isn’t unusual but attention is instantly attracted as it’s played on a harpsichord. Equally instantly, an elegiac atmosphere is set. The voice, coming in just-short of the 10-second mark, is similarly yearning in tone. The song’s opening lyrics convey dislocation: “You and I travel to the beat of a different drum.”
“Different Drum,” the September 1967 single by an outfit dubbed Stone Poneys Featuring Linda Ronstadt, was immediate, had a country edge and was written by Mike Nesmith – then best known as a member of The Monkees. The band had already issued a couple of folk-pop singles simply credited as Stone Poneys, neither of which had clicked with record buyers. Third time out on 45,…
As we’ve come to expect from Ace’s much-admired series of Jon Savage-curated two-CD collections, this new – and sadly final – volume is a multi-genre delight, taking the listener from house to baggy via post-punk, proto-grunge, minimalist avant-garde, the advent of sampling and more.
Among the many highlights are ‘Mystery of Love’ by Mr Fingers, a track that turned Savage’s head during a trip to New York in early 1986; Hüsker Dü’s ‘Could You Be the One?’ from 1987, a perfect example of their melodic abilities; the action-packed ‘It Takes Two’ by Rob Base & DJ E-Z Rock, which could be heard blasting out of boomboxes all over New York in spring 1988; Paul Oakenfold’s 1989 remix of Happy Mondays’ ‘Wrote for Luck’ into the early baggy classic…
By the end of the ’60s, pop had undergone several all-consuming metamorphoses. Rock music and youth culture at large were changing by the minute, and there were more landmark albums that represented universal shifts in the way music was composed, produced, conceptualized, and consumed. For every Pet Sounds, Revolver, Forever Changes, or Axis: Bold as Love, there were less visible ripples throughout all of music, as psychedelic thinking and a softly adventurous spirit overtook bands and artists who were stuck in their by-the-numbers garage rock ways before this enlightenment. Safe in My Garden: American Pop in the Shadows 1967-1972 takes a look at some of the best, strangest, and most interesting examples of lesser-known purveyors of…
What happens after the spotlight is directed towards another target? In the case of Liverpool and the Merseybeat boom – which, in terms of chart success, peaked in 1963 – the question is addressed by Liverpool Sunset: The City After Merseybeat 1964–1969. The city’s musicians carried on, despite record labels looking elsewhere for the next big thing, and despite the Liverpool tag no longer ensuring an automatic interest.
The final (identifiably) Merseybeat bands to debut on the charts were The Escorts, with “The One to Cry” in July 1964, The Undertakers, with “Just a Little Bit” in April 1964, and The Mojos, with “Everything’s Alright” in March 1964. None of these were debut singles, but that was it for burgeoning Merseybeat contenders and…
“Forest and the Shore” by Keith Christmas is remarkable. In his essay for Gather in the Mushrooms, compiler, author and Saint Etienne member Bob Stanley says it is “as evocative as its title. The song has a deeply wooded sound, like a cross between Serge Gainsbourg’s “Ballade de Melody Nelson” and Ralph Vaughan Williams.” To this can be added the brooding, dramatic melancholy of Scott Walker’s “The Seventh Seal.”
Despite the grandeur of “Forest and the Shore” – and the astounding Richard Thompson-esque, Tom Verlaine-predicting guitar solo taking it to its close – Gather in the Mushrooms: The British Folk Underground 1969-1975 is ostensibly an 18-track collection of British folk recordings. Or, more accurately, folk-rooted or…
Ace Records continues its quest to offer variations on a theme by exploring country interpretations of the music of Bruce Springsteen. Springsteen’s Country collect 20 covers of The Boss, some familiar (Johnny Cash’s “Johnny 99,” Steve Earle’s live take on “State Trooper”), some offbeat (a take on Tunnel of Love opener “Ain’t Got You” by Solomon Burke, the Nitty Gritty Dirt Band’s version of beloved outtake “From Small Things (Big Things One Day Come)”), and some altogether lesser known (Americana acts like Lera Lynn and The Whiskey Treaty Roadshow interpreting “Fire” and “The Rising”). The set was compiled by Sean Rowley, a well-known British DJ/presenter who happens to be one of the men on the album cover of Oasis’ (What’s the Story) Morning Glory?.
At the turn of the 70s, songwriters like Tony Macaulay (‘Love Grows Where My Rosemary Goes’), Cook and Greenaway (‘Something’s Gotten Hold of My Heart’), Lynsey De Paul and Barry Blue (‘Storm in a Teacup’) and John Carter (‘Beach Baby’) were bossing the singles charts and Radio 1 while more serious acts like Led Zeppelin and Pink Floyd concentrated on album sales.
Chip Shop Pop is a stellar collection of super-melodic, expertly crafted songs; it gathers two dozen of the songs that got away, all potential hits written by these Denmark Street-schooled songwriters. You might have only heard these records once or twice before, coming out of a passing kid’s transistor radio, or in the background in a cafe, or a chippie, and then…
You Got Me Hooked! is the latest instalment in Ace Records’ ongoing survey of British girl singers of the 1960s. Recent volumes in the series focused on the catalogues of Decca (Don’t Blow Your Cool!), Pye (She Wants You!) and Philips/ Fontana/ Mercury (Live It Up!). This new edition comprises a cherry-picked collection of cool she-pop from the EMI family of labels: Parlophone, Columbia and HMV. Most of the tracks were recorded at Abbey Road, a short tube ride from EMI HQ in Marylebone, hence the “Marylebone Beat Girls” subtitle.
Of the 26 tracks, a generous half are new to CD. These include ‘Too Late to Say You’re Sorry’ by the aptly named Soulmates featuring lead vocals by Liza Strike, which garnered a USA cover by Darlene Love, no less; Friday Browne’s fabulous…
Soul music has always been in Paul Weller’s blood from early Jam covers of Martha & the Vandellas 1963 classic ‘Heatwave’. Along with other forms of music, soul found its way into Paul’s record collection, nourishing his ears and informing his own songwriting. We don’t need to recap a questing musical career from the Jam to the Style Council which then blossomed into one of the most productive and revered careers of any UK solo artist. Paul has written anthems, standards and a songbook that have always developed from his own feelings.
Whilst Paul has talked about his love of soul music he has, before now, simply been too busy to sit down and curate a collection of his favourite tracks and get it into the record racks.
A sequel to the 2020 compilation Ready or Not: Thom Bell Philly Soul Arrangements & Productions 1965-1978, the 2024 collection Didn’t I Blow Your Mind?: Thom Bell The Sound of Philadelphia Soul 1969-1983 shifts focus somewhat. Where Ready or Not included singles from Bell’s early years, Didn’t I Blow Your Mind? opens with the titular Delfonics hit, a single that effectively ushered in the glory years of Philly soul, an era this collection celebrates.
Compiler Bob Stanley doesn’t shy away from big hits this time around — “The Rubberband Man,” “Then Came You,” and “Betcha by Golly, Wow” anchor this comp — but he doesn’t follow a strict chronological order, allowing himself to bounce back and forth from the beginning of…