{"title":"Ace Records","description":null,"products":[{"product_id":"im-just-a-prisoner","title":"I'm Just a Prisoner","description":"\u003cp\u003eAce records reissue her debut LP, out of print for decades. \u003ci\u003eI’m Just A Prisoner \u003c\/i\u003ewas released in 1970 and remains a definitive slice of Southern soul. Recorded at Rick Hall’s legendary FAME studio in Muscle Shoals \u003ci\u003eI’m Just A Prisoner\u003c\/i\u003e pulled together five tracks - I’d Rather Be An Old Man’s Sweetheart (Than A Young Man’s Fool), I’m Just A Prisoner (Of Your Good Lovin’), Evidence, You Don’t Love Me No More and Sweet Feeling - that had appeared as A and B- sides on early singles issued in 1969 and 1970. These were augmented by another five tracks recorded specifically for the album; Someone You Use, Get It When I Want It, Do Your Duty, That’s How Strong My Love Is and Another Man’s Woman, Another Woman’s Man. Like Southern fried chicken, this music is essential food for your ears.\u003c\/p\u003e\u003cp\u003eThis new edition includes an inner sleeve featuring a new interview with Candi conducted by Ace Records, Ian Shirley about this magical stage of her career as well as photos from the period.\u003c\/p\u003e","brand":"Ace Records","offers":[{"title":"LP","offer_id":50383505752395,"sku":"2022814","price":23.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":50383507063115,"sku":"2056877","price":10.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/0-3_b66d5f38_thumbnail_4096.jpg?v=1726303536"},{"product_id":"bob-stanley-presents-76-in-the-shade","title":"Bob Stanley Presents 76 in the Shade","description":"\u003cp\u003eThe months without rain and airless days and nights might not have been something out of the ordinary in the Algarve or the south of France, but it was without precedent in Britain. The Summer of 1976 has remained a benchmark for long, hot summers – there may have been scorchers since, but none have seemed quite as relentless or enervating. The country melted into a collective puddle. \u003ci\u003e76 In The Shade\u003c\/i\u003e probably wasn’t anyone’s real life soundtrack of the year – that could have included Bowie’s \u003ci\u003eStation To Station \u003c\/i\u003eand Abba’s \u003ci\u003eGreatest Hits\u003c\/i\u003e. Instead, Saint Etienne’s Bob Stanley has put a compilation together that sonically evokes the summer of 1976 itself, its sweet heat and almost narcotic lethargy. \u003c\/p\u003e\u003cp\u003eGetting out of the sun, you might have sat inside with the radio on, and heard the dreamy wooziness of Liverpool Express’s \u003ci\u003eYou Are My Love\u003c\/i\u003e, 10cc’s \u003ci\u003eI’m Mandy Fly Me\u003c\/i\u003e, or the Emotions’ \u003ci\u003eFlowers\u003c\/i\u003e. Or maybe you flopped out in front of the telly, where you heard an alternative summer soundtrack – the music libraries that provided the bulk of the testcard’s music gave us Simon Park’s minimal \u003ci\u003eStoned Out\u003c\/i\u003e and John Cameron’s deeply immersive \u003ci\u003eLiquid Sunshine\u003c\/i\u003e; the Californian jazzer Spike Janson provided the wordless vocal harmonies of \u003ci\u003eWalking So Free\u003c\/i\u003e. \u003c\/p\u003e\u003cp\u003e\u003ci\u003e76 In The Shade\u003c\/i\u003e follows in the footsteps of Bob Stanley’s hugely successful comps for Ace, including \u003ci\u003eEnglish Weather\u003c\/i\u003e and \u003ci\u003eThe Tears Of Technology\u003c\/i\u003e. It suggests bright yellow sunshine, hot plastic car seats, cats lolloping on the lawn. A few tracks (Smokey Robinson, Cliff Richard, David Ruffin, Carmen McRae) act as necessary splashes of cooling water; most of them sound like it’s just too hot to move. \u003cbr\u003e\u003c\/p\u003e","brand":"Ace Records","offers":[{"title":"LP","offer_id":50402321695051,"sku":"1096969","price":27.99,"currency_code":"GBP","in_stock":false},{"title":"CD","offer_id":50402321760587,"sku":"1096968","price":16.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/2fea06b7-4c67-4eda-b23e-c4aa7e81131c_thumbnail_4096.jpg?v=1726540850"},{"product_id":"you-just-gotta-know-my-mind-karens-theme","title":"You Just Gotta Know my Mind \/ Karen’s Theme","description":"\u003cp\u003eFirst issued on the Dot label in 1965, Karen Verros’ recording of ‘You Just Gotta Know My Mind’ is one of the most popular and in- demand tracks ever to appear on Ace Records’ \u003ci\u003eGirls With Guitars\u003c\/i\u003e compilation series. Pressings of the hopelessly rare original exist in two variants, one 20 or so seconds shorter than the other. \u003c\/p\u003e\u003cp\u003eThis new Ace release features the longer of the two versions. ‘Karen’s Theme’ on the B-side is the ‘You Just Gotta Know My Mind’ backing track, with added freakbeat guitar in place of Karen’s vocal. \u003c\/p\u003e\u003cp\u003eAn original copy, in the unlikely event one should become available for sale, is likely to carry a hefty asking price. Designed to resemble a small-run mid-60s acetate pressing, rather than a replica Dot label, this very welcome addition to Ace’s catalogue of 7-inch vinyl singles should set punters back about the cost of a bottle of cheap plonk.\u003c\/p\u003e","brand":"Ace Records","offers":[{"title":"7\"","offer_id":50409879732555,"sku":"2048213","price":9.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/NW_516_Karen_Verros_45_A_33bae44e_thumbnail_4096.jpg?v=1726631039"},{"product_id":"millie-jackson-fkpoah","title":"Millie Jackson","description":"\u003cp\u003eMillie Jackson’s first single was released on the MGM label in 1969 but her career took off when she signed to Spring where she teamed up with producer Raeford Gerald. The single ‘A Child Of God (It’s Hard To Believe)’\/ ‘You’re The Joy Of My Life’ was a Top 30 R\u0026amp;B hit and ‘Ask Me What You Want’\/‘I Just Can’t Stand It’, ‘My Man, A Sweet Man’\/‘I Gotta Get Away From My Own Self’ and ‘I Miss You Baby’\/‘I Ain’t Giving Up’ not only did more damage on the R\u0026amp;B chart but also entered the Hot 100. All four singles appeared on her debut LP “Millie Jackson”, issued on Spring in 1972.\u003c\/p\u003e\u003cp\u003eVinyl tracklisting: Side One 1. If This Is Love 2. I Ain't Giving Up 3. I Miss You Baby 4. A Child Of God (It's Hard To Believe) 5. Ask Me What You Want Side Two 1. My Man, A Sweet Man 2. You're The Joy Of My Life 3. I Gotta Get Away (From My Own Self) 4. I Just Can't Stand It 5. Strange Things\u003c\/p\u003e","brand":"Ace Records","offers":[{"title":"LP","offer_id":50411298652491,"sku":"2019984","price":19.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":50411298914635,"sku":"2019985","price":7.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/SEW_009_MILLIE_JACKSON_Millie_Jackson_LP_fef3bcd8_thumbnail_4096.jpg?v=1726655817"},{"product_id":"a-good-thing-goin-girl-group-sounds-usa-1962-1967","title":"A Good Thing Goin'! Girl Group Sounds USA 1962-1967","description":"\u003cp\u003eAce Records has been the go-to source of 1960s US girl group \ncompilations since the release of \u003ci\u003eWhere The Girls Are, Girls \nAbout Town\u003c\/i\u003e and \u003ci\u003eStop, Look and Listen\u003c\/i\u003e vinyl albums back in the \n1980s. The 10-volume \u003ci\u003eWhere The Girls Are\u003c\/i\u003e CD series followed over the \nnext few decades, along with a batch of standalone CD collections. These\n days, however, the vinyl long-player is back in favour as the format of\n choice for discerning collectors.\u003c\/p\u003e\u003cp\u003e\u003ci\u003eA Good Thing Goin’!\u003c\/i\u003e, the latest in our \ncurrent series of gorgeously packaged 12-inchers, drops this month. The \nalbum opens in fine style with ‘What About You’ by the great sounding \nMousie \u0026amp; the Traps. Darlene Love kicks off the second side with ‘Let\n Him Walk Away’, a song written by Jackie DeShannon with noted arranger \nJack Nitzsche, no less. Darlene Love, one of the most beloved vocalists \nof the classic girl group era, also sings lead on the Blossoms’ terrific\n previously unissued ‘You Had A Good Thing Goin’’, while Jack Nitzsche \nproduced the Satisfactions’ lush ‘Baby I’m So Glad It’s Raining’ and \nKaren Verros’ castanets-driven version of the Crystals’ ‘Little Boy’.\u003c\/p\u003e\u003cp\u003eOther\n highlights include Brenda Holloway’s silky pre-Motown gem ‘Constant \nLove’, the Puffs’ hip dancer ‘I Only Cry Once A Day Now’, the \nFran-cettes’ latin-flavoured ‘Late In The Evening’ and Linda and the \nVistas’ Shrine Records rarity ‘Bad Apple’. As usual in the series, the \nswanky inner sleeve features a picture-packed 3,000-word track \ncommentary by long-serving compiler Mick Patrick.\u003c\/p\u003e","brand":"Ace Records","offers":[{"title":"Black LP","offer_id":50411874058571,"sku":"2222751","price":19.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/CHD_1634_A_Good_Thing_Goin_LP_067c0375_thumbnail_4096.jpg?v=1726663379"},{"product_id":"nothing-can-stop-me-liberty-records-rarities-1960-1962","title":"Nothing Can Stop Me: Liberty Records Rarities 1960-1962","description":"\u003cp\u003eComprising performances of songs from the Ray Charles repertoire, the very belated release of what would have been the young Jackie’s first album, plus 13 rare bonus Liberty masters.\u003c\/p\u003e\u003cp\u003eBetween October 1960 and July ’61, Jackie DeShannon released three Liberty singles which, although excellent performances, had not dented the US Hot 100. So it was a major leap of faith for the company to book Jackie into Fine Recording Studios in New York with producer Clyde Otis to record an album of songs written by or closely associated with Ray Charles. Once completed, Liberty scheduled the release of her “Hits Of The Genius” LP in January 1962. However, in November 1961, not long after Jackie’s sessions, Bobby Darin also recorded an album’s worth of Ray Charles songs. When Atlantic Records announced the release of “Bobby Darin Sings Ray Charles”, this effectively put the kibosh on Liberty’s plans.\u003c\/p\u003e\u003cp\u003eOf the 11 tracks intended for Jackie’s shelved album, ‘Don’t Let The Sun Catch You Crying’ would be included on her “This Is Jackie DeShannon” LP in 1965. Liberty issued ‘Ain’t That Love’ and ‘I’ll Drown In My Own Tears’ on singles in late 1961 and early ’62, and ‘This Little Boy Of Mine’ appeared on a Ray Charles tribute collection over 40 years later; the stereo mixes of all three debut here. The remaining seven “Hits Of The Genius” tracks are previously unreleased in any format. Jackie’s soulful vocals are sensational throughout: torrid and exciting on the up-tempo ‘Swanee River Rock’, ‘I Got A Sweetie’, ‘What’d I Say’, ‘Yes Indeed’ and ‘Hallelujah, I Love Him So’, and moody and atmospheric on the slower ‘Night Time Is The Right Time’ and ‘Georgia On My Mind’.\u003c\/p\u003e\u003cp\u003eAmong the bonus tracks are a further six recorded in New York with producer Clyde Otis, of which ‘I Won’t Turn You Down’ and ‘Baby (When Ya Kiss Me)’ appear here in stereo for the first time, the latter in an alternate take. Elsewhere, ‘I Don’t Think So Much Of Myself Now’, produced by Dick Glasser in Nashville, is here in first-time stereo and ‘That’s What Boys Are Made Of’ is an alternate take. The other nine bonus titles – including two more Ray Charles songs and several written by Jackie with Sharon Sheeley – are previously unreleased full stop.\u003c\/p\u003e\u003cp\u003eAfter all these years, Jackie’s recollections of the “Hits Of The Genius” project are still focused: “I always had such respect for Ray Charles. For me, he was an artist who brought country, blues and rock’n’roll to the forefront. Unfortunately, although I saw him perform, I never got to meet him. I thought it would be interesting to record some of his songs and I wanted to experience what it would be like to delve into his catalogue. My favourites from the sessions are ‘Night Time Is The Right Time’, ‘I’ll Drown In My Own Tears’, ‘What’d I Say’ and ‘Yes Indeed’. To me, those are the heavy-hitters. ‘Fool For You’ is another one I particularly like. All the musicians on this project were extremely talented and I thoroughly enjoyed our time in the recording sessions.”\u003c\/p\u003e","brand":"Ace Records","offers":[{"title":"CD","offer_id":50411968266571,"sku":"2191341","price":11.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/CDTOP_1643_Jackie_DeShannon_65b0b0f2_thumbnail_4096.jpg?v=1726664022"},{"product_id":"meet-the-missfits","title":"Meet the Missfits","description":"\u003cp\u003eIt was standard practice in the 1960s for British beat groups to pepper their repertoires with American R\u0026amp;B songs. Formed by five music-loving schoolgirls from Blackpool, the Missfits were no exception. Although the group released no records during their time together, for two brief years they were the toast of Blackpool clubland. They played at the same venues as local bands such as the Rockin’ Vickers, including some gigs at the famous Oasis Club in Manchester and at the short-lived Blackpool branch of the Twisted Wheel.\u003c\/p\u003e\u003cp\u003eIn February 1964, they won a recording test in a talent competition and travelled to London that summer to commit some of their favourite songs to tape. The tape reel was soon forgotten and thought lost but Janet had thankfully kept it safe, enabling the appearance of the four tracks on this 60s-style vinyl EP. Drummer Janet Baily provides lead vocals on their version of John Lee Hooker’s ‘Dimples’, and bass player Pauline Moran sings lead on Bo Diddley’s ‘You Can’t Judge A Book By The Cover’, Chuck Berry’s ‘I’m Talking About You’ and Ray Charles’ ‘What’d I Say’, with guitarists Andrea Hine, Carola Daish and Liz Hall joining in on backing vocals.  \u003c\/p\u003e","brand":"Ace Records","offers":[{"title":"7\"","offer_id":50412191383883,"sku":"2053681","price":9.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/LTDEP_028_The_Missfits_EP_f5fc7290_thumbnail_4096.jpg?v=1726665962"},{"product_id":"one-in-a-row-the-willie-nelson-songobook","title":"One In A Row - The Willie Nelson Songobook","description":"\u003cp\u003eWillie Nelson became a success as a country music tunesmith long \nbefore he broke through as a genre superstar in the mid-1970s. His \nappearance in Ace’s Songwriter Series this month is both long overdue \nand most welcome.\u003c\/p\u003e\u003cp\u003eYears before he had any hits of his own, \nWillie forged his reputation as a front tier writer, thanks to songs \nlike ‘Crazy’, Night Life’, ‘Hello Walls’ and ‘Funny How Time Slips \nAway’. Others made these songs hits initially, but it was Nelson’s skill\n as a lyricist and composer that truly ‘made’ the songs.\u003c\/p\u003e\u003cp\u003eWritten \nover a period of more than 30 years, you can hear all of those and 20 \nothers on “One In A Row” which demonstrate the breadth and depth of his \ncatalogue and shows why so many of his biggest copyrights continue to be\n revived and revisited decades after Nelson first put pen to paper.\u003c\/p\u003e\u003cp\u003eSome\n of these have been covered literally hundreds of times in all genres of\n music, others just once or twice. But all of them reinforce the fact \nthat Willie Hugh Nelson is one of the most important songwriters of the \n20th Century inside or outside of country music – and would have been \none even if he had never sung a note.\u003c\/p\u003e\u003cp\u003eA most valuable addition to \nAce’s unofficial ‘series within a series’ featuring the songs of \nNelson’s country peers Dolly Parton and Merle Haggard, and a solid \ntestament to the talents of a man who is still singing many of them and \nothers live in concert at the age of 91.\u003c\/p\u003e\u003cp\u003e['01 Hello Walls - Little Esther\\n\\t\\t\\t\\t\\t\\t\\t\\n\\t\\t\\t\\t\\t\\t', '02 Angel Flying Too Close To The Ground - Bob Dylan\\n\\t\\t\\t\\t\\t\\t\\t\\n\\t\\t\\t\\t\\t\\t', '03 Night Life - B.B.  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The albums Hayes’ made for Stax’ \nEnterprise label remain the benchmark in ‘symphonic soul’, and sound as \nbreathtakingly brilliant as they did when they were new releases.\u003c\/p\u003e\u003cp\u003eAs\n well as being one of a small group of artists who expanded the growth \nof the soul albums market, Ike was a consistently successful singles \nartist, who placed 16 consecutive 45s on the R\u0026amp;B chart between 1969 \nand 1976 – most of which also crossed over to pop. \u003c\/p\u003e\u003cp\u003eThe biggest \nhits have been anthologised on previous occasions – but \u003ci\u003eHot Buttered \nSingles\u003c\/i\u003e is the first series to present the A and B sides of all of \nHayes’ ‘Yellow Stax’-era 45s in chronological order, and in their \noriginal singles versions – several of which have not appeared on CD \nbefore. Many of these tracks are among his best loved recordings. Here \nyou will hear them as you would have heard them on soul and pop radio \nover half a century ago.\u003c\/p\u003e\u003cp\u003eExtensively annotated, handsomely \nillustrated and coming to you – on CD and double vinyl -  in a package \nthat an artist of Ike’s stature thoroughly deserves.\u003c\/p\u003e\u003cp\u003eWatch out for\n volume 2 – which carries Hayes’ singles story through to 1977, and \nwhich includes all the early singles on Ike’s own HBS label – in 2025!\u003c\/p\u003e","brand":"Ace Records","offers":[{"title":"Black LPx2","offer_id":50412874957131,"sku":"2222767","price":27.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":50412874367307,"sku":"2222764","price":11.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/CDTOP_1650_ISAAC_HAYES_-_Hot_Buttered_Singles_CD_4ff3160d_thumbnail_4096.jpg?v=1726669259"},{"product_id":"the-tears-of-technology-bob-stanley-and-pete-wiggs-present","title":"The Tears of Technology - Bob Stanley and Pete Wiggs Present","description":"\u003cp\u003eBob Stanley and Pete Wiggs are back with another lovingly compiled compilation and it's an absolute joy. For years, synthesisers were equated with coldness, laboratories, a boffin's idea of music, and something that could put regular musicians out of business overnight. At the turn of the eighties, as the price of synthesisers and drum machines fell to within the reach of ordinary folk, a new wave of groups decided to prove the doubters wrong.\u003c\/p\u003e\u003cp\u003eWhile punk had been about nihilism and anarchy, Britain's synth revolution brought emotion and melancholy back into British pop. 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This included a 1994 article in The Wire where journalist Simon Reynolds used the term post-rock to refer to some of them: \u003cstrong\u003eBark Psychosis\u003c\/strong\u003e, \u003cstrong\u003eDisco Inferno\u003c\/strong\u003e, \u003cstrong\u003eMoonshake\u003c\/strong\u003e, \u003cstrong\u003eSeefeel\u003c\/strong\u003e, \u003cstrong\u003eMain\u003c\/strong\u003e, \u003cstrong\u003ePram\u003c\/strong\u003e, \u003cstrong\u003eInsides\u003c\/strong\u003e...\u003c\/p\u003e\n\n\u003cp\u003eEven though these bands didn’t sound alike, they seemed to share an ethos of deconstruction and were interested in the possibilities of studio manipulation. Calling their music post-rock meant that it still had a link with established rock music, even as it picked it apart and made something new from its component parts. There was a fluidity to roles and image, many bands rejecting the idea of a front person or focal point.\u003c\/p\u003e\n\n\u003cp\u003eHowever, 1994 was also the first year when Britpop dominated the UK charts and music press. Britpop was rooted in nostalgia and familiarity, very different to post-rock’s ahistorical magpie approach. The contemporary artists featured on this compilation felt their already-small window of exposure shrinking. Still, away from the limelight, these bands released innovative records that were lauded worldwide.\u003c\/p\u003e\n\n\u003cp\u003eThe second part of the 90s brought a new crop of groups and bedroom labels that carried on this forward-thinking attitude to music, unburdened by genre notions and open-minded in the best sense. By then, technology was getting cheaper and smaller, which meant that the band structure became even less important.\u003c\/p\u003e\n\n\u003cp\u003eThis often led to a strand of music that was more introspective, vulnerable and less concerned with playing live than ever before. By the late 90s post-rock as a genre was hardening, and the term was usually applied to all instrumental guitar-based music, rather than the more complex original vision.\u003c\/p\u003e\n\n\u003cp\u003eIndeed, for a listener only familiar with this later kind of post-rock, the sound of many bands on \u003cem\u003eIn The Light Of Time\u003c\/em\u003e may come as a surprise. If they were released today, these tracks would probably be described as post-punk, art rock or leftfield pop. 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Both of those records served to reintroduce many of us to Lind. We remembered him from his smash 1966 folk-rock hit ‘Elusive Butterfly’ and oft-covered classics such as ‘Cheryl’s Goin’ Home’, but what we discovered was that his new work was just as potent – even more so, perhaps – as those earlier releases. \u003c\/p\u003e\u003cp\u003e\u003ci\u003eSomething Worse Than Loneliness\u003c\/i\u003e takes Lind to the next level, at a time when most of his contemporaries have long ago lost their mojo. From the title track, through such gems as ‘Terry’s Song (Just Right)’, ‘My Satellite’ and the album-closing ‘Born For This’, which, says Lind, “expresses why a 79 year- old guy keeps putting it out there”, this new collection is a gift that gives more with each new listening. In ‘Leave Me Alone’, an entire life is encapsulated into just a few short minutes. Or how about ‘Back To Me In Memphis’, with its vivid references to the historic city’s landmarks and heroic people, all within a mini-tale so personal and vibrant you might forget you’re not standing on Beale Street as you listen. The album’s one cover song, Danny O’Keefe’s ‘You Look Just Like A Girl Again’, is so tender and open you’ll want to give it a big hug. Really, you can take your pick – there isn’t a song here that doesn’t hit you where you live. \u003c\/p\u003e\u003cp\u003eOf course, Lind is quick to acknowledge, he didn’t make this music by himself. The album was produced and arranged by Jamie Hoover, who you may already know as the prime mover behind the Spongetones, a great pop-rock band from North Carolina. Hoover, who also provides much of the instrumentation on the album and the back-up vocals (along with Elena Rogers), save for George Wurzbach’s spellbinding keyboards, seems to know instinctively just how to frame Lind’s evocative language, to bring out its lustre and inherent wisdom. There’s a familiarity to these songs – they instantly feel as if you’ve known them all your life – yet there is nothing retro about them. You’ll welcome them into your life like a new best friend.\u003c\/p\u003e","brand":"Ace Records","offers":[{"title":"CD","offer_id":50417508221259,"sku":"1142530","price":11.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/e02bf5c0-caf1-4ea3-8dc5-6efdedcc5326_thumbnail_4096.jpg?v=1726731593"},{"product_id":"hearts-for-sale-girl-group-sounds-usa-1961-1967","title":"Hearts for Sale! 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Issued on Lew Bedell’s Doré label, this exciting faux- live deck in the style of Shirley Ellis’ ‘The Nitty Gritty’ was written by Guy Hemric and Jerry Styner, a hip team known for supplying songs for the soundtracks of B movies such as Muscle Beach Party and Thunder Alley. \u003c\/p\u003e\u003cp\u003eThe Hollywood-based Doré imprint is also the source of ‘You Really Never Know Till It’s Over’ by the Vel-Vetts (which shares a backing track with the Superbs’ ‘I Was Born When You Kissed Me’), ‘One Way Street’ by the Swans, a soulful update of the Teddy Bears’ ‘To Know Him Is To Love Him’ by the Darlings and – featuring lead vocals by Sheilah Page, a former member of groups such as the Bermudas, Becky and the Lollipops, the Majorettes, Joanne \u0026amp; the Triangles and Beverly and the Motor Scooters – ‘He’s Groovy’ by the Front Page \u0026amp; Her. \u003c\/p\u003e\u003cp\u003eOther highlights include the Sweethearts’ Supremes- influenced ‘No More Tears’, the sophisticated slowie ‘Lonely Girl’ by the Lovettes (that’s them on the front sleeve), ‘My Heart Tells Me So’ by the Del-Phis (an early incarnation of Martha and the Vandellas) and the Fran- Cettes’ terrific recording of ‘Heart For Sale’. As with the earlier volumes in the series, the album comes with a fully-illustrated inner bag featuring a 2,500-word track commentary by compiler Mick Patrick.\u003c\/p\u003e","brand":"Ace Records","offers":[{"title":"LP","offer_id":50419532628299,"sku":"2048212","price":17.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/CHD_1627_Hearts_For_Sale_LP_7a04ba03_thumbnail_4096.jpg?v=1726748216"},{"product_id":"jon-savages-the-secret-public-how-the-lgbtq-aesthetic-shaped-pop-culture-1955-1979","title":"Jon Savage's The Secret Public - How the LGBTQ+ Aesthetic Shaped Pop Culture 1955-1979","description":"\u003cp\u003eThe soundtrack to the book. A monumental history of the LGBTQ influence on popular culture, from the award-winning, \u003ci\u003eSunday Times\u003c\/i\u003e bestselling author Jon Savage. It features tracks from Joe Meek to Buzzcocks, Patrick Cowley, Tom Robinson Band, Lesley Gore, Billy Fury, Little Richard and more.\u003c\/p\u003e\u003cp\u003eHomosexuality has been a part of post-war popular music since its very inception. Until the early 70s, however, it wasn’t talked about openly in that world: it was coded, hidden, secret. This of course mirrored society - during the 50s and 60s, the gay community felt like outcasts: harassed by the police, demonised by the media and politicians, imprisoned simply for being who they were. \u003c\/p\u003e\u003cp\u003eThis compilation spans the time before and after Bowie, reflecting both the coded nature about the topic in the 50s and 60s and the greater openness that occurred in the early 70s. It begins in late 1955, with the extraordinary success of Little Richard; continues through early-60s pop and pop art; Tamla and soul, glam rock, the early 70s funk and disco that was played in the underground New York clubs, and then moves on to the omnipresence of disco, in the late 70s. \u003c\/p\u003e\u003cp\u003eThis double CD compilation is about freedom - and freedom for all. Whilst some of the artists identify as LGBTQ+, then or now, some are included simply because they were played in gay or lesbian clubs — where their lyric or sound proved useful and enjoyable to the patrons - or because they were shaped in some way by the gay aesthetic or gay managers. 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In the world of popular music, the most liberating after-effect of the Sex Pistols was that anyone with something to say now felt they could make a 7” single. \u003ci\u003eWinter Of Discontent \u003c\/i\u003eis the sound of truly DIY music, made by people who maybe hadn’t written a song until a day or two before they went into the studio. It’s spontaneous and genuinely free in a way the British music scene has rarely been before or since. \u003c\/p\u003e\u003cp\u003e\u003ci\u003eWinter of Discontent\u003c\/i\u003e has been compiled by Saint Etienne’s Bob Stanley and Pete Wiggs, the latest in their highly acclaimed series of albums that includes \u003ci\u003eThe Daisy Age, Fell From The Sun\u003c\/i\u003e and \u003ci\u003eEnglish Weather\u003c\/i\u003e. The era's bigger DIY names (Scritti Politti, TV Personalities, the Fall) and the lesser-known (Exhibit A, Digital Dinosaurs, Frankie’s Crew) are side by side on \u003ci\u003eWinter Of Discontent\u003c\/i\u003e. Mark Perry’s Sniffin’ Glue command – “Here’s one chord, here’s another, now start a band” – was amplified by the Mekons and the Raincoats, whose music shared a little of punk’s volume, speed and distortion, but all of its obliqueness and irreverence. The discontent was with society as a whole. No subject matter was taboo: oppressive maleness (Scritti Politti); deluded Britishness (TV Personalities); gender stereotypes (Raincoats, Androids of Mu); nihilistic youth (Fatal Microbes); alcoholism (Thin Yoghurts); self-doubt and pacifism (Zounds). The band names (Thin Yoghurts!) and those of individual members (Andrew Lunchbox!) had enough daftness to avoid any accusations of solemnity. \u003ci\u003eWinter Of Discontent \u003c\/i\u003eis the definitive compilation of the UK DIY scene, and a beacon in grim times.\u003c\/p\u003e\u003cp\u003e1. Where Were You? – The Mekons 2. Violence Grows – Fatal Microbes 3. The Terraplane Fixation – Animals \u0026amp; Men 4. Work – Blue Orchids 5. 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What it did have was musical talent and a business plan that ended in glorious failure - inadvertently making the twenty singles that were pressed highly sought after by collectors.\u003c\/p\u003e\u003cp\u003eInterest was first stirred when a few of the uptempo numbers were played on the Northern Soul scene of the 70s, notably Eddie Daye’s pounding ‘Guess Who Loves You’ spun by DJ Richard Searling at Wigan Casino. Then young Turk DJs like Keb Darge and Guy Hennigan at Stafford’s Top Of The World all-nighters in the 80s really took up Shrine’s cause and the search for the hidden gems was on. “People were buying the known records on Shrine, but no-one was buying the unknowns,” recalls Darge. Soon, copies of singles by the Cautions, Cairos and Les Chansonettes went “massive” on the scene - J.D. Bryant’s big ballad ‘I Won’t Be Coming Back’ sold for a fortune.\u003c\/p\u003e\u003cp\u003eWhen the label went out of business in 1966, Singleton left the remaining stock in the office, before locking the door for the last time. Years later, after being introduced to Kent Records’ Ady Croasdell by Ian Levine, Eddie retrieved the original masters from the studio. These tapes revealed unissued gems from the Prophets (later to emerge as a 7”), Tippie and the Wisemen, Traci, Jimmy Armstrong and others.\u003c\/p\u003e\u003cp\u003eThose first tape reissues came out on the short-lived Horace’s label and later Ace more comprehensively issued them on CD. Other labels intervened but now Shrine is back in its rightful home. To celebrate this, Ace issued \u003ci\u003eShrine Northern - The 60s Rarest Dance Label \u003c\/i\u003eKent LP, Ace have looked at the tapes again, in greater depth, and found another 14 sides worthy of single releases.\u003c\/p\u003e\u003cp\u003eBarbara Long’s great, but elusive, Shrine recording - issued on sister-label Jet Set - deservedly leads off the package and is coupled with the previously CD-only ‘Take It From Me’ by the mysterious Traci – an early tape find. Like Barbara Long, the Epsilons ‘Mind In A Bind’ was issued just after the label folded and sneaked out on Washington’s Hem imprint. It is re-released for the first time as a 7” with their ‘Mad At The World’ debuting as a UK 45. The same scenario applies to the Cautions’ marvellous mid-tempo single ‘Watch Your Step’. 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We have coupled it with the catchy, raucous groove of the incredibly rare Cavaliers Shrine 45 ‘Do What I Want’. this has improved audio from its previous releases.\u003c\/p\u003e\u003cp\u003eThe Prophets gorgeous harmony ballad ‘Huh Baby’ gets its first 45 re-release too and we have put a slightly alternate version, found in the tapes, of ‘If I Had One Gold Piece’, the original B side. 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The Missfits, a young five-piece from Blackpool with a taste for R\u0026amp;B, also tackle Bo Diddley’s ‘You Can’t Judge A Book By The Cover’ and ‘Chuck Berry’s ‘I’m Talking About You’; all three of their tracks are previously unreleased. \u003c\/p\u003e\u003cp\u003eFor the record, lest anyone’s keeping tally, the other featured guitar-toting all-girl bands are She, Goldie \u0026amp; the Gingerbreads, the Debutantes, the Liverbirds, the Beat-Chics, the Ace Of Cups and the Mysteries. Elsewhere, Debbie Williams sings lead with the all-male Unwritten Law, ballsy-voiced Joyce Harris is backed by Texas bar band the Daylighters, the teenage Chymes trio are accompanied by the un-billed Turtles and, well, you get the picture. \u003c\/p\u003e\u003cp\u003eNaturally, those so inclined can learn more about all the artists in the accompanying 24-page booklet containing a picture-packed 4,000-word track commentary by series compiler Mick Patrick. \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e1. MELVIN - The Belles \u003cbr\u003e2. DIMPLES - The Missfits \u003cbr\u003e3. HI HEEL SNEAKERS - Girls Take Over \u003cbr\u003e4. DON’T LEAVE ME BABY - She \u003cbr\u003e5. WHAT KIND OF MAN ARE YOU – Goldie and The Gingerbreads \u003cbr\u003e6. LITTLE LATIN LUPE LU - The Debutantes \u003cbr\u003e7. DIDDLEY DADDY - The Liverbirds \u003cbr\u003e8. NOW I KNOW - The Beat-Chics \u003cbr\u003e9. CIRCLES - The Ace Of Cups \u003cbr\u003e10. 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The problem with the Beatles, and the coverage of their music, was that it built a musical dam that formed a reservoir that covered previous audio hills that were submerged by time and history. Why care about Otillie Patterson singing the blues when you had Please Please Me? Why care about Chris Farlowe’s Air Travel when you had I Want To Hold Your Hand? Whereas 50 years later Beatles music is endlessly recycled, much of the music recorded between 1960 and 1963 remains ignored and submerged under water. But, as you will discover on \u003ci\u003eA Snapshot in Time\u003c\/i\u003e there were some cracking gems like the Blue Flames R\u0026amp;B swagger of Orange Street, Lynne Cornell’s Moanin’ and Sounds Inc Sounds Like Locomotion. 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Not only does the album contain the evergreen ‘\u003cem\u003eI Cry\u003c\/em\u003e’ but other smoking tracks like ‘\u003cem\u003eGood To The Very Last Drop\u003c\/em\u003e’ and ‘\u003cem\u003eNow That You Got It\u003c\/em\u003e.’\u003c\/p\u003e\n\n\u003cp\u003eRecorded at her first session at Muscle Shoals, the title track and ‘\u003cem\u003eLove Doctor\u003c\/em\u003e’ not only appeared on this LP, but on the big screen in the film \u003cem\u003eCleopatra Jones\u003c\/em\u003e starring Tamara Dobson. Issued as a single, ‘\u003cem\u003eIt Hurts So Good\u003c\/em\u003e’ became Jackson’s biggest US chart hit peaking at #24. ‘\u003cem\u003eHelp Yourself\u003c\/em\u003e’ and The Ashford and Simpson-penned ‘\u003cem\u003eDon’t Send Nobody Else\u003c\/em\u003e’ were also recorded at Muscle Shoals.\u003c\/p\u003e\n\n\u003cp\u003eThe balance of the album was recorded in New York sessions with tracks like the finger-popping ‘\u003cem\u003eClose My Eyes\u003c\/em\u003e’ equal to anything Holland-Dozier-Holland were putting out at that time.\u003c\/p\u003e\n\n\u003cp\u003eVinyl tracklisting:\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSide One\u003c\/strong\u003e\n- \u003cem\u003eI Cry\u003c\/em\u003e\n- Hypocrisy\n- Two-faced World\n- \u003cem\u003eIt Hurts So Good\u003c\/em\u003e\n- \u003cem\u003eDon’t Send Nobody Else\u003c\/em\u003e\n- Hypocrisy (Reprise)\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eSide Two\u003c\/strong\u003e\n- \u003cem\u003eGood To The Very Last Drop\u003c\/em\u003e\n- \u003cem\u003eHelp Yourself\u003c\/em\u003e\n- \u003cem\u003eLove Doctor\u003c\/em\u003e\n- \u003cem\u003eNow That You Got It\u003c\/em\u003e\n- \u003cem\u003eClose My Eyes\u003c\/em\u003e\n- Breakaway (Reprise)\u003c\/p\u003e","brand":"Ace Records","offers":[{"title":"LP - Blue","offer_id":50486494560587,"sku":"2022570","price":19.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":50486494789963,"sku":"2019987","price":7.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/SEW_019_MILLIE_JACKSON_It_Hurts_So_Good_LP_aeff0101_thumbnail_4096.jpg?v=1727610139"},{"product_id":"look-but-dont-touch-girl-group-sounds-usa-1962-1966","title":"Look But Dont Touch! 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The album opens with the discotheque-friendly ‘Hey, Rocky’ by front cover stars the Shirelles of New Jersey, the USA’s most successful girl group until the Supremes broke through and stole their thunder, and closes with the Bermudas’ ‘Chu Sen Ling’, a record sure to appeal to those who favour the ethereal West Coast sound. \u003c\/p\u003e\u003cp\u003eOther highlights include the Hollywood Chicks’ dance craze disc ‘Tossin’ A Ice Cube’ (sic), which marks the recording debut of Barry White (on handclaps); great tracks by the Witches, the Pussycats and Linda Laurie from the catalogue of genius songwriter\/producer Bert Berns; Mayalta Page’s densely produced rarity ‘Don’t Worry About Me Baby (I Feel Just Fine)’; and, and for the girl group buff who has everything, ‘He Calls Me Child’ by Ohio duo the 2 Of Clubs and ‘A Dumb Song’ by the soulful Delicates, both of which are previously unreleased.\u003c\/p\u003e\u003cp\u003etrack listing\u003c\/p\u003e\u003cp\u003eSIDE ONE\u003cbr\u003eHEY, ROCKY – The Shirelles \u003cbr\u003eMY LITTLE BABY - The Witches \u003cbr\u003eNOBODY LOVES ME - The Ikettes\u003cbr\u003eHE CALLS ME CHILD - 2 Of Clubs\u003cbr\u003eA DUMB SONG - The Delicates\u003cbr\u003eCHICO - Linda Laurie \u003cbr\u003eTOSSIN’ A ICE CUBE - The Hollywood Chicks \u003c\/p\u003e\u003cp\u003eSIDE TWO\u003cbr\u003eBABY THAT’S ME - The Carolines\u003cbr\u003eDON’T WORRY ABOUT ME BABY \u003cbr\u003e (I FEEL JUST FINE) - Mayalta Page \u003cbr\u003eSWEET KIND OF LONELINESS - The Darlettes \u003cbr\u003eYOU MAY BE HOLDING MY BABY - The Pussycats\u003cbr\u003eI WANNA KNOW RIGHT NOW - Carol Slade \u003cbr\u003eMY BABY LOOKS, BUT HE DON’T TOUCH – Carol Connors \u003cbr\u003eCHU SEN LING - The Bermudas \u003c\/p\u003e","brand":"Ace Records","offers":[{"title":"LP","offer_id":50490122535243,"sku":"1162106","price":17.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/7e048035-055e-4da8-81c8-04f17a0b38cf_thumbnail_4096.jpg?v=1727652525"},{"product_id":"all-turned-on-motown-instrumentals-1960-1972","title":"All Turned On! 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This is one of the reasons that his songs have been so in-demand from serious musical talents, and why Ace Records’ second volume of Cohen’s songs is as rich as the first. Just as he found Lorca’s poetry a touchstone for himself, the artists on here seem to take up Leonard Cohen not to copy him, not even to emulate him, but to find their own voice from the considerable challenge he sets them.\u003c\/p\u003e\u003cp\u003e1. HALLELUJAH - k.d. lang\u003c\/p\u003e\u003cp\u003e2. ANTHEM - Father John Misty \u003c\/p\u003e\u003cp\u003e3. THE GYPSY'S WIFE – Patricia O'Callaghan \/ The Gryphon Trio\u003c\/p\u003e\u003cp\u003e4. THE STRANGER SONG - Emmylou Harris\u003c\/p\u003e\u003cp\u003e5. HERE IT IS - Jonathan Richman\u003c\/p\u003e\u003cp\u003e6. YOU KNOW WHO I AM - Mama Cass\u003c\/p\u003e\u003cp\u003e7. IS THIS WHAT YOU WANTED – The Last Shadow Puppets \u003c\/p\u003e\u003cp\u003e8. NIGHTINGALE - Anjani\u003c\/p\u003e\u003cp\u003e9. 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This double CD covers five full years of rocking out, watching our beloved, familiar rock’n’roll morph its way into power pop, glam rock, pub rock, krautrock and punk rock. Even the hippies were finding their teeth and plugging in their guitars. Many of the chart acts had, in one form or another, been around since the mid-60s and they adapted their core aesthetic for the new era, and with this volume, we find the young punk- to-be Jon settling into his tribe and his stride.\u003c\/p\u003e\u003cp\u003eIn his ongoing quest to define the era these compilations cover, Jon does not follow the accredited pre-punk timelines but aims to reflect the fertility of the years between 1972 and 1976. 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Nick Lowe reminds us that there was life before punk and Pere Ubu point to post-punk before it’s hardly started. As always, to be continued...\u003c\/p\u003e\u003cp\u003eCD1: Easy To Slip - Little Feat 02 Do Ya - The Move 03 End Unkind - Grin 04 School's Out - Alice Cooper 05 I Hardly Know Her Name - The Wackers 06 So Far - Faust 07 Slow Death - Flamin' Groovies 08 One Of The Boys - Mott The Hoople 09 When My Baby's Beside Me - Big Star 10 She Means A Lot To Me - Smyle 11 Wishing Well - Free 12 Full Circle - The Byrds 13 Blockbuster! - The Sweet 14 Vicious - Lou Reed 15 Avenging Annie - Andy Pratt 16 Yang Yang - Yoko Ono \/ Plastic Ono Band 17 Editions Of You - Roxy Music 18 Search And Destroy - Iggy \u0026amp; The Stooges 19 48 Crash - Suzi Quatro 20 Trash - New York Dolls 21 Andy Warhol - Dana Gillespie 22 #9 Dream - John Lennon\u003c\/p\u003e\u003cp\u003eCD2: Girl From Germany - Sparks 02 You Really Got Me - The Hammersmith Gorillas 03 The Man Who Couldn't Afford To Orgy - John Cale 04 Hey Joe (Version) - Patti Smith 05 Third Uncle - Eno 06 Kings Of Speed - Hawkwind 07 I Don't Mind - Dr. Feelgood 08 After Eight - Neu 09 Red Temple Prayer (Two Headed Dog) - R. Ericson \u0026amp; Bleibalien 10 Roadrunner - Jonathan Richman 11 Say It Ain't So Joe - Murray Head 12 Radioactivity - Kraftwerk 13 Final Solution - Pere Ubu 14 Blitzkreig Bop - Ramones 15 Max's Kansas City '76 Pt 1 - Wayne County \u0026amp; The Backstreet Boys 16 Cherry Bomb - The Runaways 17 X Offender - Blondie 18 Horseplay (Weary Of The Schmaltz) - Eddie \u0026amp; The Hotrods 19 Keys To Your Heart - The 101'ers 20 (Don't Fear) The Reaper - Blue Oyster Cult 21 Heart Of The City - Nick Lowe 22 Train, Train - The Count Bishops \u003c\/p\u003e","brand":"Ace Records","offers":[{"title":"CD","offer_id":50510848033099,"sku":"1114992","price":18.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/ced6a7bc-87f4-45ca-8e5c-0f6e2a7fc6f7_thumbnail_4096.jpg?v=1727881018"},{"product_id":"face-the-music-the-complete-singles-1967-1984","title":"Face the Music - The Complete Singles 1967-1984","description":"\u003cp\u003eBefore she had reached her 16th birthday Helen Shapiro became one of the UK’s brightest stars of the early 1960s, with three of her first four singles topping our charts. In the years before the Beatles (who once supported her on tour!) Helen was a permanently visible presence on our charts, and continues to be a fan favourite seven decades on and almost 20 years after she announced her retirement. Most of Helen’s early hits can be found on at least one CD. But in \u003ci\u003eFace The Music \u003c\/i\u003eAce brings you the first-ever compilation to pull together the complete A and B sides of every seven inch single Helen released under her own name between 1967 and 1984, with repertoire drawn from five different labels. \u003ci\u003eFace The Music\u003c\/i\u003e comes to you with the full approval and endorsement of Helen and John, her husband of more than 30 years. A sleeve note featuring a specially conducted 2020 ‘lockdown’ interview with the artist provides Helen’s own thoughts on both these recordings and this period in her 40+ year career. All tracks appear here in their original mono and stereo single mixes, just as they were released on 45. Around a third of the titles have never been reissued before, in any format. With a booklet stuffed with the usual plethora of ephemera, labels and rare foreign picture sleeves, it’s something no Shapiro fan will want to miss.\u003c\/p\u003e","brand":"Ace Records","offers":[{"title":"CD","offer_id":50512635232587,"sku":"1096974","price":16.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/0f475fd1-c4fc-4d1b-815e-16e02fe1cbfc_thumbnail_4096.jpg?v=1727903351"},{"product_id":"splendido-the-italian-singles-collection","title":"Splendido! - The Italian Singles Collection","description":"\u003cp\u003eIt was regular practice in the 1960s for stars to record their hits in foreign languages, whether it was the Beatles trying their hand at German or Gene Pitney more successfully getting his head around Italian. The era’s female singers seemed to be more adaptable – Sandie Shaw and Françoise Hardy, for example, had parallel careers with recordings in English, French, German, Spanish and Italian – and Petula Clark was probably the most prolific of all.\u003cbr\u003e \u003cbr\u003eThis latest release on the occasional Ace International imprint is a two-CD anthology of Petula’s complete Italian language singles. Among the tracks are five superb songs she rendered exclusively in that language – including ‘Invece No’, which she performed at the San Remo Song Festival in 1965, and ‘Splendido’, recorded for the TV mini-series Coralba in 1970 – plus a further five of which she recorded no English versions, notably ‘Quelli Che Hanno Un Cuore’, her particularly lovely cover of Bacharach \u0026amp; David’s ‘Anyone Who Had A Heart’.\u003c\/p\u003e\u003cp\u003eMany of the songs will be familiar to Petula’s British fans in their English versions – among them ‘Ciao Ciao’ (‘Downtown’), ‘L’amore È Il Vento’ (‘My Love’) and ‘Cara Felicita’ (‘This Is My Song’) – while others were first recorded by her in French or German, countries in which she scored many big hits. Rarely for a female artist of the time, Petula wrote or co-wrote many of her own songs – sometimes under the alias Al Grant – an impressive nine of which are featured here.\u003c\/p\u003e\u003cp\u003eReleased with the approval and involvement of Petula herself, the two discs come in a six-panel digipak which also houses a bumper 32-page booklet featuring notes by Bob Stanley incorporating an exclusive interview with Petula, detailed track annotations, ten gorgeous full-page colour photos – many of them from the personal collection of Claude Wolff, Petula’s husband – and a plethora of other rare illustrations.\u003c\/p\u003e","brand":"Ace Records","offers":[{"title":"CD | x2","offer_id":50512862380363,"sku":"1127450","price":17.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/a7baa41f-c28e-406e-9fbe-e6e88030d3d7_thumbnail_4096.jpg?v=1727908597"},{"product_id":"girls-with-guitars-know-why","title":"Girls With Guitars Know Why!","description":"\u003cp\u003eA collection of guitar-wielding all-girl bands, drop-dead female frat rock, garage girls and axe-centric she-pop from the 60s. 14 hot nuggets, each one hand-picked with vinyl lovers in mind. Features a bevy of genuine all-girl bands – namely Goldie and the Gingerbreads from the environs of New York; the Debutantes from Detroit; Florida’s the Belles; the Rums and Coke and Girls Take Over, both from Wisconsin; and Ace favourites She from California, all of whom give their male counterparts a good run for their money. \u003c\/p\u003e\u003cp\u003eThe Belles, incidentally, released only one record – a killer rendition of Them’s \u003ci\u003eGloria\u003c\/i\u003e, gender-switched as \u003ci\u003eMelvin\u003c\/i\u003e – before drifting apart, never dreaming that copies of the disc would one day change hands for $500 a pop. Some of the other girls receive help from male colleagues. Glenda Collins, for example, is backed by producer Joe Meek’s favoured house band the Outlaws featuring guitarist Richie Blackmore; Merseyside ex-pat Sandy Edmonds is accompanied by the Pleazers, New Zealand’s answer to the Pretty Things; and teenage trio the Chymes are supported by the Turtles. \u003c\/p\u003e\u003cp\u003ePressed on 180 Gram transparent violet vinyl, with a swanky inner bag sporting a fact-filled 4,000-word track commentary and an array of rare photos. Compilation and note by Mick Patrick.\u003c\/p\u003e","brand":"Ace Records","offers":[{"title":"Violet LP","offer_id":50524195848523,"sku":"1094952","price":21.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/3a04dc17-ebbc-439b-b54e-a8ad74e90d95_thumbnail_4096.png?v=1728026649"}],"url":"https:\/\/shop.roughtrade.com\/de\/collections\/ace-records.oembed","provider":"Rough Trade","version":"1.0","type":"link"}