Ace Schallplatten & CDs

Review: While Claremont songwriter, guitarist, percussionist and experimental musician Norma Tanega scored her most memorable hit with 'Walkin' My Cat Named Dog', her later career heard her talents and curiosities get the best of her, working mostly as a percussionist and soundtracker in relative yet still intriguing obscurity. Her second LP followed duly from an early Dusty Springfield co-sign (and subsequent romantic relationship); while it charts the beginning of her transition into musical auteurism, most of Tanega's pop sensibility is so far retained here. Smack-dab in the middle of Tangea's extended stay in the UK after liaising with Springfield, the likes of 'Hampton Court' and 'Clapham Junction' allude to London's most major hubs of creative frenzy at the time, whilst the more abstract 'Elephants Angels And Roses' and 'Stranger' are relatively choral and lilting psych, folk and pop burrs, documenting the course of an relationship through confectionary vocals and romantic swells.

Review: A new collection that documents a micro-niche of American baroque pop with a fresh new compilation. Diversifying the selection from, but still including, the most obvious figureheads in the style - Nico, Linda Rondstadt, even The Monkees - to also focus on the fulgurant but less visible sparks in the sound, such as Appaloosa and Eternity's Children, this is a record whose focus is on both greater and lesser objects of renown. The chamber orchestral instrumentation of the sound is made palpable; quaternary strings, harpsichords, woodwinds and autoharps abound, gelling neatly with the hip connotations of the genre's late 60s efflorescence.

Review: American baroque pop, or chamber pop as it is also known, flourished from 1966 to the early seventies. It's a sound that blends string quartets, harpsichords and woodwinds to evoke a unique summer-into-autumn kind of melancholy. Far from the raw energy of early rock 'n' roll, this style often attracted musicians from folk backgrounds who were drawn to its acoustic richness. Linda Ronstadt's first band, the Stone Poneys, introduced the autoharp in 1965 while artists like Bonnie Dobson and Nico experimented with string arrangements as they sought new, post-electric directions. This era marked a shift toward intricate, orchestral textures that redefined the boundaries of pop and folk music and are explored in this superb and comprehensive collection.

Review: Here, There and Everywhere: Black America Sings John Lennon, Paul McCartney & George Harrison is Ace Records' third compilation of soulful jazz and r&b covers of Beatles classics by Black American artists. This collectio has a deep Motown presence, acknowledging the Beatles' early admiration for Motown before the label's music even hit the UK charts. The album spans Beatles and post-Beatles compositions from 1964 to 2004, with standout performances by artists like Aretha Franklin, Marvin Gaye and Stevie Wonder. The song selection takes listeners on an inspired journey through well-known hits, reimagined with rich soul and jazz interpretations. The Supremes' take on 'You Can't Do That' and The Four Tops' 'Michelle' reveal fresh, emotive layers in songs that are simultaneously faithful and transformative. Randy Crawford's stirring 'Give Peace a Chance' and Stevie Wonder's vibrant 'We Can Work It Out' underscore Black America's lasting engagement with the Beatles' work, while tracks like Sam Fletcher's 'Can't Buy Me Love' and Keb' Mo's 'Imagine' breathe new life into familiar melodies with jazz-infused warmth and soul. Each cover on the compilation not only reflects the artists' creative voices but also traces the Beatles' own roots in soul and r&b, bridging cultural influences that shaped music in the 60s and beyond. Here, There and Everywhere is an enriching and unique compilation that has one of the most enduring cross-cultural exchanges in modern pop history.

Review: Since the release of Make Mine Mondo in 2018, fans have eagerly awaited a follow-up - and the second instalment is a thrilling collection of wild instrumentals, rockabilly, garage rock and energetic r&b. This compilation collects some rare music that helps the collection of obscure tracks be a blend of the quirky, the rebellious and the heartbroken. It's a fascinating mix of the mad, the bad and the dangerous, each song oozing raw energy and a sense of urgency. Volume 2 proves just as captivating as its predecessor, delivering an exhilarating ride through the fringe of musical history. Expect the unexpected.