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Welcome to the other Great American Songbook.

Music publisher Max Dreyfus, the head of Chappell Music and dean of New York City’s allegorical Tin Pan Alley, once said, “Always take care of your writers. Without them you are nothing.” Dreyfus knew a good songwriter when he heard one – Richard Rodgers, George Gershwin and Cole Porter, to name but three – and we like to think we do too, although we specialise in a more recent era. It takes nothing away from the towering achievements of Rodgers, Gershwin and Porter to acknowledge that the 1950s and 60s produced their own fair share of brilliant songwriters.

Each CD in Ace’s Songwriter series offers an overview of a very specific artistic vision and personality, from the tongue-in-cheek playfulness of Leiber & Stoller to the soul stylings of Van McCoy and the earthy street-grounded rockers of Ernie Maresca. Randy Newman and Burt Bacharach are widely considered the embodiment of the word songwriter, but Neil Diamond and Jackie DeShannon are so firmly embedded in the public consciousness as star performers that many may be momentarily surprised to encounter them as the prolific tunesmiths they actually were. Great songs are all you would expect from a Bacharach set, but perhaps you’ve never stopped to think just how many great songs Bo Diddley wrote. Luckily, Ace have, and now you can enjoy hearing the proof.

The halcyon days of the Brill Building era are represented by the great writing teams of Leiber & Stoller, Pomus & Shuman, Goffin & King, Mann & Weil, Sedaka & Greenfield and Greenwich & Barry, who so dominated the Hot 100 during that golden age (although not all of them actually operated out of the Brill).

Those writers in turn influenced those who came along in their wake. The Sloan & Barri and Boyce & Hart teams added a folk-rock slant to the mix. Chip Taylor delved into a more country-flavoured sound. Nick Ashford, Valerie Simpson & Joshie Armstead borrowed from the church for their soul epics. All of them made tremendous contributions and more than earned the honour of being anthologised in the usual Ace fashion, with accompanying action-packed booklets filled with interviews, essays, rare photos and vintage clippings.

You’ll find big hits, fabulous near-misses, obscure LP cuts, interesting interpretations of hits and rarities, sung by a dazzling array of star performers, living legends, notorious characters, cult favourites and talented also-rans. The real stars here, though, are the songwriters. And, of course, their great songs.

It’s tempting to say that had these writers been the only ones working in the second half of the 20th century, the 50s and 60s would still be considered rock’s golden age. But one thing is certain: it wouldn’t have been a golden age without them.

Tell us about your background in design and how your got started.

My father was in 'the print' and worked as a compositor all his life - I remember visiting him at work from an early age (I still love the smell of letterpress ink in the morning) and watching him setting a page, and being taken round the plant and seeing the presses running.

I never really intended to do anything remotely similar but was reminded, years later, by her, of a conversation I'd had with my nan when I was 12 or 13 and she'd asked me what I wanted to do when I finished school/college and I'd replied 'be a commercial artist' - I'd really little idea of what one was or did at that point.

I swapped my stamp collection with a friend’s older brother for the beginnings of a record collection about the same time, and that was it. I knew I'd have to work in the music industry somehow.

I left college with a degree in Humanities with that aim and spent a year writing music reviews for the Bristol student newspaper, as a first step towards the NME/ZigZag or similar. The editor's principal requirement for the job was that you were prepared to do it all - source the albums/gigs to review, write the review, have it typeset and then lay out the page/s in each issue ready for the print process. In at the deep end.

Back to London to a job in the production department of a small publishing company (music journalism just seemed to drain my enjoyment once it became 'a job') - some writing, but far more marking up type and laying out pages… design, in fact. After a couple of years of dues paying and on-the-job learning I thought - 'I can do this now and maybe I'm a designer and maybe I know a little about type and should work for myself.' My father wasn't sure about the type thing though - commenting on a piece of work I showed him at the time that it was ‘good, but it's photo-setting, not proper type!’

Skipping over a couple of decades of mostly independent work and what I hope is largely good design (with some lamentable stuff along the way of course - I'm thinking of the 80s here) - I've managed to combine my love of music with something like a 'proper job' and find myself here, watching with amusement as my son attempts to manoeuvre away from the inevitable time when he finds himself in a job involving design/typography/print.

Movie soundtracks and book tie-ins also began to play a definitive part in the Ace release schedule, starting in 2004 with the Pogues and Joe Strummer featuring on the original soundtrack of Alex Cox’s “Straight to Hell Returns”. Then in 2010 came a double CD to accompany Alan Govenar’s magisterial biography of Lightnin’ Hopkins. As Roger Armstrong suggested: “Read the book, enjoy the record.” Another book tie-in came with “A Rocket In My Pocket: The Soundtrack To The Hipster's Guide To Rockabilly” which accompanied the book by the same name by Max Décharné. Chock-full of classics such as ‘The Train Kept A-Rollin'’ by Johnny Burnette & his Rock'n'Roll Trio and the title track by Jimmy Lloyd, it was a pure delight.

It was 40 years ago this September, give or take, that the team behind Ace Records first made a record. We have been going in and out of style ever since and hopefully over the years have contributed in some measure to the business of human happiness.

2007

A year of deaths, celebration and buying catalogues.

In March, Hy Weiss of Old Town / Barry Records died in Florida. The idea of deaths as ‘burning libraries’ certainly applied to Hy, a fount of insider knowledge about the music business from the mid-50s onwards. He was frank about it being full of scams and dodges. Most of his artists we met had no illusions about him, but also real affection. Plus, he could tell you a thing or two about them, too. He featured in many books, some more discreetly than others and it is a shame he never did tell his own tale. What tales he had to tell: tall, frighteningly honest and often very funny.