Today, we're rounding up five releases from Ace Records, all of which were released within the past few months by the U.K. label.

Ace has followed up its 2022 collection dedicated to the oeuvre of composer John Barry, The More Things Change: Film TV, and Studio Work 1968-1972, with a new volume of the film maestro's works.  Something's Up!  Film, TV, and Studio Work 1964-1967 (Amazon U.S. / Amazon U.K. / Amazon Canada) hardly plays like a collection of runners-up, however.  Barry crafted so much indelible music - throughout his lifetime, but particularly in this purple patch - that the 25 selections chosen by compiler Bob Stanley double as (more) greatest hits.  Much as Burt Bacharach, Brian Wilson, The Beatles, or Bob Dylan did in their own ways, John Barry's music defines a certain aspect of the '60s.  He captured the spirit of Swingin' London in orchestral fashion, conveying the freedom and youth of that cultural revolution as filtered through the lens of suspense, action, and adventure. This set features numerous spy movie themes (Goldfinger, Thunderball, The Ipcress File, The Quiller Memorandum, You Only Live Twice) but that's hardly all.  Barry's same deft, melodic sensibility was malleable to both the light (the family drama Born Free, the comic sex romp The Knack...And How to Get It) and the dark (the war film King Rat, the thriller The Whisperers), while he arranged the pieces in a style both of their time and utterly timeless.  There are plenty of delightful rarities here including Barry's "pop" single version of "The Syndicate" from Passion Flower Hotel, the musical he co-wrote with lyricist Trevor Peacock and librettist Wolf Mankowitz - if only the buoyant flipside "What a Question!" had also been included - and both sides of a 45 dedicated to music from BBC crime drama Vendetta, but the more familiar compositions never threaten to overshadow the lesser-known ones.  A 20-page booklet with Stanley's track-by-track notes put it all into context, with Nick Robbins' mastering ensuring that Barry's simultaneously swingin' and dramatic work crackles with vivacity.  It adds up to an indispensable tribute to one of cinema's all-time greats.

Nothing Can Stop Me goes the title of Ace's new collection dedicated to legendary singer-songwriter Jackie DeShannon.  Indeed, DeShannon has proved unstoppable in a career spanning eight decades and counting, whether as a singer ("What the World Needs Now Is Love"), songwriter ("Bette Davis Eyes"), or both ("Put a Little Love in Your Heart").  This new collection of Liberty Records Rarities 1960-1962 (Amazon U.S. / Amazon U.K. / Amazon Canada) turns the clock back to DeShannon's early years, premiering both a previously unreleased album and a clutch of never-before-heard tracks.  The main attraction is Hits of the Genius, scheduled for release as Liberty LST-7213 in January 1962 but ultimately shelved.  (Liner notes author Peter Lerner posits that the release of Bobby Darin's tribute to Charles on the Atlantic label put the kibosh on DeShannon's album.)   The young vocalist paid tribute on its 11 tracks (only four of which trickled out in ensuing years) to Ray Charles, covering songs both written by and associated with the singer-pianist.  The stereo album was recorded in New York with producer Clyde Otis and arranger-conductor Bert Keyes, and Jackie brought genuine soul and spirit to the sessions.  She let loose with growls, shouts, and wails over Keyes' orchestral and choral backings, bringing the likes of "What'd I Say," "Night Time Is the Right Time," and "Hallejulah, I Love Him So" to youthful and invigorating life.

The long-overdue Hits of the Genius is joined by a baker's dozen of rarities (nine previously unreleased), many of which were recorded with Clyde Otis in New York as well as with Snuff Garrett in Hollywood and Metric Music head Dick Glasser in Nashville.  These reflect the sound of the teen market of the day as well as the singer's rooting in R&B.  There's more from Charles' pen ("Nobody But You," "Fool for You") as well as originals composed by the solo Jackie and with her friend Sharon Sheeley as Metric staff writers.  Most of these bonus tracks are presented in stereo, both in period Liberty mixes and new mixes by Ted Carfrae.  Rock and soul are in ample evidence on DeShannon and Sheeley's energetic "Stand Up and Testify," piano-pounding "Don't You Feel Sorry for Me," and Bo Diddley-esque title track "Nothing Can Stop Me."  Jackie's softer side emerges most potently on "I Must Be Dreaming."  Both Jewel Brown and the U.K.'s Billy Fury recorded the ballad (his was shelved for years), but Jackie's own rendition is loveliest of all.  Nothing Can Stop Me: Liberty Records Rarities 1960-1962 adds another key chapter to the ongoing Jackie DeShannon story.

Late maestro Thom Bell was a cherished friend of The Second Disc, and here at Second Disc HQ, nothing makes us happier than seeing him celebrated.  Ace's Kent imprint has recently followed up its 2022 collection Ready or Not: Philly Soul Arrangements and Productions 1965-1978 with a second volume drawn from the Bell oeuvre.  Didn't I Blow Your Mind?  Thom Bell: The Sound of Philadelphia Soul 1969-1983 (Amazon U.S. / Amazon U.K.  / Amazon Canada) offers another 20 well-selected, choice items from Thom's extraordinary career, and yet still scratches the surface of his prodigious output.  The title, of course, is derived from the majestic track which opens this set: The Delfonics' 1968 anthem, one of the earliest tracks written, produced, arranged, and conducted by the young Thom Bell.  It was written with the group's lead singer, falsetto titan William Hart, and nominally helmed by label owner Stan Watson, whom both Bell and guitarist Bobby Eli confirmed to this author did little beyond signing the checks. Thom's signature lush, romantic, widescreen style was taking full flight, making it an ideal opener for a collection which continues with more of that rich balladry (Ronnie Dyson's "Give in to Love," The Stylistics' "You Are Everything" and "Betcha by Golly Wow") along with devastating torch songs (Nancy Wilson's "Joe"), atypical uptempo dancers (The Spinners' "The Rubberband Man"), blissful pop confections (Dionne Warwick and The Spinners' "Then Came You," Elton John's "Nice and Slow"), and smooth soul workouts (Johnny Mathis' "Loving You - Losing You").

The compilation is light on rarities, with only "Nobody Knows It" from Bell and James (a.k.a. Thom's nephew LeRoy Bell and his musical partner Casey James) new to CD; Connie Stevens' long-unavailable "Betcha by Golly Wow" (released under the title "Keep Growing Strong") might have been a stronger choice than The Stylistics' familiar version.  But there's plenty of lesser-known treasure here, including Eloise Laws' uptempo "Got You Into My Life," Little Anthony and The Imperials' "Lazy Susan" (later re-recorded by Bell with The Spinners), Jerry Butler's beguiling "Walking Around in Teardrops," Lou Rawls' mellow "Will You Kiss Me One More Time," and Dee Dee Bridgewater's shimmering tribute to a "One in a Million (Guy)."  Kudos to compiler-annotator Bob Stanley for another compelling showcase of Bell as composer, arranger, and/or producer - it's truly essential listening that's bound to touch the heart and bring a smile.  (And a shout-out to the late Linda Creed, Bell's primary lyrical collaborator, whose moving words are heard throughout this set.)

Bob Stanley has also offered a well-deserved tribute to another of our favorite singer-songwriters, Paul Williams, on We've Only Just Begun: The Paul Williams Songbook  (Amazon U.S. / Amazon U.K. / Amazon Canada).  It doesn't hurt that the set is adorned with one of the most delightful cover photos we've seen all year.  This collection is stuffed with 22 tracks, all of which feature lyrics by Williams and many of which also have melodies by the all-around musical renaissance man.  Fourteen tracks feature music by Williams' earliest collaborator, Roger Nichols, whose sweet, abundantly melodic style was the perfect match for the lyricist's big-hearted, humanistic messages.  Highlights from their collaboration heard here include The Monkees' "Someday Man," Williams' own group The Holy Mackerel's "Bitter Honey," The Sandpipers' "The Drifter," The Four King Cousins' "I Fell," and Art Garfunkel's "Traveling Boy," along with a number of songs best-known from the Carpenters' renditions but heard here in other, no less worthy versions - among them Freda Payne's "Rainy Days and Mondays," Freddie Allen's "We've Only Just Begun" (the first recorded version), Petula Clark's "Let Me Be the One," and Diana Ross' "I Won't Last a Day Without You."  The set offers hidden gems from Elvis Presley ("Where Do I Go From Here," a solo Williams tune), Glen Campbell (Paul's "Another Fine Mess"), and Seals and Crofts (film theme "My Fair Share," co-authored with Charles Fox) as well as Three Dog Night's hit "An Old-Fashioned Love Song" and Kermit the Frog's yearning tear-jerker, "The Rainbow Connection.  Paul himself offers pithy commentary in Bob Stanley's track-by-track liner notes."  This heartwarming collection from an American original proves definitively that Paul Williams' old-fashioned love songs have never, and will never, go out of style.

Writing and producing at Motown Records, the team of Eddie Holland, Lamont Dozier, and Brian Holland defined The Sound of Young America, including ten of The Supremes' twelve No. 1 singles.  Ace's A Different World: The Holland-Dozier-Holland Songbook (Amazon U.S. / Amazon U.K. / Amazon Canada) differs from past anthologies of the trio's work because it primarily sidesteps the Motown originals on which they made their name; only nine of its two dozen songs were originally released by Berry Gordy's family of labels.  Typical for an Ace release, some hits are indeed here: Martha and The Vandellas' "Jimmy Mack" (albeit in its less familiar album version) from Motown and Freda Payne's "Band of Gold" from H-D-H's own Invictus label (in its extended 1979 mix) foremost among them.  A Different World is at its best when it reveals the adaptability of H-D-H's beloved compositions via unusual or lesser-known versions, including Laura Nyro's delicate "Come and Get These Memories," Brenda Lee's "How Sweet It Is (To Be Loved by You)," Barbara Mason's Philly-style "Come See About Me," The Fall's "There's a Ghost in My House," and Bettye Swann's soulful "This Old Heart of Mine."  Better-known but just as valuable are Dusty Springfield's "A Love Like Yours (Don't Come Knocking Every Day)," Vanilla Fudge's hard-rocking "You Keep Me Hanging On," Marvin Gaye and Kim Weston's "Baby, I Need Your Loving," and Gloria Gaynor's "Reach Out, I'll Be There."

In demand from other labels, the Invictus-era H-D-H brought their production stamp to Dionne Warwick's Warner Bros. album Just Being Myself, from which the imploring "I Think You Need Love" has been reprised here.  No H-D-H compilation would be complete without tunes from The Supremes and Four Tops, so compiler-annotator Tony Rounce has selected Diana Ross and The Supremes' 1967 recording of "Heaven Must Have Sent You" (which originally remained unreleased for almost two decades) and the Tops' "I'm in a Different World," a spellbinding 1968 single that deserved a better chart placement.  In any setting - country, rock, soul, pop, prog, or beyond - the songs of Holland-Dozier-Holland remain a part of the firmament of American popular music.  This unusual compilation lives up to its title with a different look at the trio's familiar tunes.  As an Amazon affiliate, we earn from qualifying purchases.