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1st August (Wednesday) – Jazz Café, London
2nd August (Thursday) – Jazz Café, London
3rd August (Friday) – The Canvas, Bournemouth
4th August (Saturday) – The Roadmender, Northampton
5th August (Sunday) – Margate Soul Festival, Margate
8th August (Wednesday) – Fasching, Jazz Festival, Stockholm
10th August (Friday) – Hoochie Coochie. Newcastle
12th August (Sunday) – The Lanes,Bristol

Ace will be closed from the 22nd December 2017 until the 2nd January 2018. All orders placed over the holiday period will be dispatched on our return.

Thanks for all your support this year, we wouldn't be here without you!

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

The dictionary definition of cult invariably refers to religion, worship, idolising; though deification of any of these artists is something of an exaggeration, they all certainly inspire devotion in their fans that at times is beyond the purely rational. The attention to detail in Ace CDs encourages this and as what was known as the “oldies” business has matured, a whole new generation of people have been introduced to artists in such a way as to see (and hear) them in a different light. This is not about nostalgia, the fleeting pleasure of that old hit you danced to down the disco all those years ago. This is about (re)introducing great artists with something magic about them, changing the perspective to hear performances as new, as fresh as the moment they were first recorded. It is hard to define a cult artist. Often less than successful in their time but not necessarily dragged from the shadows of obscurity, they can even have had a spectacular career or two over the years involving chart records. But what defines the cult artist is inventiveness, intensity and an enduring quality that transcends the zeitgeist to be an influence on successive generations of musicians and a joy for successive generations of irrational fans.

The transition from the 1950s to the 1960s signalled the commercial decline of some record companies. Not so with the Chess group of labels of Chicago, whose progression to sophisticated soul from raunchy R&B and blues was seamless. For lovers of vintage female soul, there are few better sources. Always rootsier than Motown in not so far away Detroit, Chess and sister logos Argo, Checker and Cadet boasted a truly spectacular stable of soulful sisters.