Origination & Personnel Director
- A Rocket In My Pocket: The Soundtrack To The Hipster's Guide To Rockabilly - CDCHD 1268
- Gosdin Brothers, Sounds Of Goodbye, Big Beat CDWIKD 235
- Arthur Alexander , The Greatest, Ace CDCHD 922
- The Damned, Machine Gun Etiquette, Chiswick CDWIKD 250
- Dion / Dion & The Belmonts , Presenting / Runaround Sue, Ace CDCH 960
- Glitter And Gold: Words And Music By Barry Mann And Cynthia Weil, Ace CDCHD 1212
- Charlie Rich - It Ain't Gonna Be That Way - The Complete Smash Sessions - Ace CDCHD 1298
- The Johnny Otis Story Vol 1: Midnight At The Barrelhouse 1945-1957 Ace CDCHD 1312
- The Johnny Otis Story Vol 2: On With The Show 1957-1974 Ace CDCHD 1326
- Etta James - Miss Etta James: The Complete Modern And Kent Recordings – Ace CDCM2 1085
- Etta James - Who's Blue? Rare Chess Recordings Of The 60s And 70s- Kent CDKEND 345
- Etta James - Call My Name With Bonus Tracks – Kent CDKEND 360
- Etta James - Losers Weepers With Bonus Tracks – Kent CDKEND 361
- Etta James - Queen Of Soul With Bonus Tracks – Kent CDKEND 377
- George Jackson - Don't Count Me Out: The Fame Recordings Vol 1 - CDKEND 363
- Paul Kelly - Hot Runnin' Soul: The Singles 1965-1971 - CDKEND 367
- Modern Music - The First Year – 1945 Ace CDTOP 1339
- The Fame Studios Story 1961-1973: Home of the Muscle Shoals Sound – Kent KENTBOX 12
- Hang It Out To Dry! – Big Beat LTDEP 013
- Make It Your Sound, Make It Your Scene: Vanguard Records - Vanguard VANBOX 14
I joined Ace in February 1981 at a time when we were still working on current bands, but just as the Ace label was getting underway. I’ve been responsible for organising all the content and the artwork for the CDs and ensuring that the parts go off to the factory for most of my career here. It doesn’t get boring as every project is different. With Mick Patrick alongside working part-time for me, the rest of the time as a repertoire consultant, we edit the sleeve notes, check label copy, research memorabilia and organise photos prior to commissioning the designers who create the artwork; we also ensure that the tapes are mastered to our very high standard (bySound Mastering, an associate company) all in time for shipment to the factory to make our release dates.
In addition to origination, I’m responsible for the recruitment and management of many of Ace’s staff members. In addition, as the co-ordinator of all the CDs that we release, I manage the repertoire consultants’ workload and act as a contact point for their work. Without our permanent staff there would be no Ace Records. They are the ones who sell the product, who pack and ship it, who negotiate and administrate the contracts, who ensure that everyone is paid promptly and that our customers are accounted to properly. They organise the mail outs, the catalogues, the adverts, the press reviews; they check every fact and proper spellings in the sleeve notes; double-check third party royalties; organise and promote the third party licensing of our owned product. They spot the samples; they deal with the suppliers and negotiate the prices we pay for the goods. They are the ones who deal with all our customers direct: the awkward and difficult, as well as the charming and interesting. They are the ones who graft every day with the aim that we constantly improve, so that our standards rise year on year. Not one record could be released without their input. We are lucky that one of the reasons we are so efficient is that we have really high quality staff and they tend to stay in post.
Ace improves. That is a tribute to Trevor, Roger and Ted for insisting that we work to the highest possible ethical standards. To maintain those principles while doing something we really enjoy and in many cases, feel quite passionately about, is the key. I’m one of those who feel privileged to be part of the process.