Results for “ted”

There was a time not so very long ago when true credibility in pop and rock music came only from success within the American or British marketplace. No matter how accomplished or innovative they might be, foreign acts and their attendant music scenes were frequently viewed with condescension, and anything not sung in English was deemed a novelty. As the development of rock music in other countries during its first two decades comes increasingly into focus, such cultural imperialism has been proved wrong time and again. Even when its native practitioners were aping American or British acts, each country added something of its own indigenous identity. In many cases it was as much the melodic approach that came with the translation of rock and pop, as it might have been simply singing in a foreign language. There were different levels of energy too. The raucous fire-fuelled abandon of Thor’s Hammer or the Antipodean beat groups contrasts with the sophisticated pop class oozed by a French chauntese. In 60s Japan, you got both sides of the coin – sometimes even within the very same record.

The meat and bones of Ace Records’ catalogue, since the company’s inception, has traditionally been American music. But we also have a divergent palate, as witnessed by our Globestyle imprint, which was a pioneer in the world music field, and is still going. Subsequently Ace developed a taste for continental cuisine of the vintage variety, and we were amongst the first UK or US reissue labels to take the subject seriously. Starting with a compilation of Uruguay’s Los Shakers (now sadly deleted), the Big Beat International sub-division set out to champion vintage 60s rock from other continents. We’ve subsequently hopped from Asia to Australasia to the far-flung reaches of the north Atlantic in the search for the wildest and wackiest rock’n’roll the planet had to offer. In more recent years a complementary subsidiary, Ace International, has emerged, focused on the distaff side via two enchanting collections of swinging mademoiselles, with similar of Italian and Australian girls planned for the very near future. Join us now for a rockin’ trip around the globe.

Sheila B. has spent most of her life in the dusty old record shops of New York, London, Paris and Tokyo in an attempt to own every 60s girl-pop 45 in existence. She has worked as an artist manager, editor at progressive girl culture magazine BUST, head of A&R for UK production house Xenomania, columnist for MTV Japan, DJ and music supervisor. She has produced and written the liner notes for several compilations including Rhino Records’ Grammy-nominated “One Kiss Can Lead to Another: Girl Group Sounds Lost & Found” box set and Big Beat’s “Nippon Girls: Japanese Pop, Beat & Bossa Nova 1966-1970”.

At age 15, she founded her first fanzine, Plume, as an attempt to escape suburban hell and share her enthusiasm for My Bloody Valentine, Bikini Kill and the Blake Babies. Plume was selected as “fanzine of the month” in popular alternative teen-girl mag Sassy, which resulted in a larger-than-expected readership and sacks of fan-mail. Three years later, she moved to London to pursue a career in the music biz, but instead found herself hanging out with a crew of British record collectors, learning the crucial difference between a VG+ and M- vinyl record. Upon returning to NYC in 1998, she started her subsequent fanzine Cha Cha Charming, as a way to reconcile her love for record collecting, 60s girl singers, heavy metal + Japanese chart pop. After three print issues, Cha Cha Charming found its home online as the go-to site for girl-powered pop – from the past, present and future, and from all over the globe.

www.chachacharming.com

The Ace Ray Stevens release "Face the Music - The Complete Monument Singles" has been withdrawn from sale due to an audio error. When corrected discs are available we will post full details here and on our facebook and twitter pages.

Apologies from all at ACE for any inconvenience caused.

Singer/guitarist James Bagshaw founded Temples with Tom Warmsley in the summer of 2012. They have received considerable press attention during their short existence and have been cited by Johnny Marr and Noel Gallagher as the best new band in Britain. As you can see James also has great taste in music...

templestheband.com

Bernard Butler is one of Britain’s most original and influential guitarists, songwriters and producers. He formed Suede with Brett Anderson co-writing and playing guitars on every recording until 1994, including the classic ‘The Drowners’, ‘Animal Nitrate’ and ‘Stay Together’, the Mercury Prize winning debut “Suede” and “Dog Man Star”, a concept of rare ambition which resulted in Butler’s untimely exit, his contribution remaining the defining moment in the band’s history.

He collaborated with David McAlmont on the anthemic ‘Yes’, bound together as “The Sound Of… McAlmont & Butler”, then signed to Creation Records for two solo albums, the acclaimed “People Move On” and “Friends and Lovers”. A second McAlmont and Butler album, “Bring it Back”, featured ‘Falling’; and The Tears’ ‘Here Come The Tears’, included the top 10 hit ‘Refugees’. In 2005 he contributed to Duffy 8 million-selling debut Rockferry. Butler produced and co-wrote the title track. He worked extensively as a producer for The Libertines, Tricky, Black Kids, Kate Nash, Nerina Pallot, Teleman, The Cribs, James Morrison, and Paloma Faith. Butler won the Producer’s Award at the 2009 BRIT Awards. Butler has played guitar on records by Bert Jansch, Aimee Mann, Bryan Ferry, Roy Orbison, Neneh Cherry and Ben Watt . New group Trans released 2 EPs followed by Mark Eitzel’s celebrated “Hey Mr Ferryman”, and the debut from QTY. His radio show BB & The King is broadcast via Boogaloo Radio each Friday.

http://boogalooradio.com/presenters/bbandtheking
www.bernardbutler.com