As purveyors of some of the best looking reissues in the business, we’ve always had an eye for sharp design and a winning pantone. Taking our lead from Ace founder Ted Carroll who has been developing his own range of seriously exclusive original label T-shirts since the late-90s, Ace are proud to present the current (and regularly expanding) range of original label T-shirts.

Next up in this ever-expanding stable will be a range of official Westbound/ Funkadelic shirts and also a number of Ace Records (Mississippi) T-Shirts.

As ever, if you have any requests for new designs, please get in touch and we’ll do our best to get them made.

One of several tracks recorded at a long session in February 1950, 'Let Your Daddy Ride' featured Hooker's road pianist, James Watkin. They worked out an arrangment where the guitar's churning rhythm reflected the theme while Watkin approximated Hooker's riffs on the piano. Bernie Besman (of the Pan American Record Co), actually released two takes of this piece, the one here and another which appeared on Modern (20-790). The Sensation version here, saw reissue in the 70s under the absurd title, 'Slow Down Your Chatter Baby'. John actually says "Chariot".

Size guide:
Medium: 38" Chest; Large: 42"; X-Large: 46"; XX-Large: 50"; XXX-Large: 54"

The original photo on this T-Shirt was shot by Alan Ballard in New York, and pictures the band crossing Times Square in a Mad Max version of the “Abbey Rd” cover. Whereas the Fab 4 were threatened by nothing more than a stationary Volkswagen, the Damned had a line of New York cabs bearing down on them. To make the sleeve, Phil (Phil Smee at Waldo’s) blew up the original photo and cut out the figures and background, re-shooting it as a 3 dimensional model of the original pic. Along the way a few of the movies showing at the cinema in the background changed their titles. This new limited edition T-shirt was created by making a high resolution scan of the original cut out figures.

Size guide:
Medium: 38" Chest; Large: 42"; X-Large: 46"; XX-Large: 50"

The classic track that has been so consistently praised and lauded since it was first issued, there is little one can add that hasn’t already been said before. Suffice to affirm yet again that it is a true great; a treasure from the Golden Age; and a recording that people will probably continue to enjoy forever and ever.

Size guide:
Medium: 38" Chest; Large: 42"; X-Large: 46"; XX-Large: 50"

When Richard Berry and the members of the Pharaohs pitched up at Los Angeles’ Radio Recorders, on 16 March 1957, they could not have guessed that the second song they recorded in a three-hour session would eventually be regarded as the most famous rock‘n’roll song of all time – the subject of a multitude of cover versions and via its most famous cover, that of the Kingsmen, the subject of an FBI investigation.

For 22 year-old Berry, ‘Louie Louie’ – which he had written a year or so earlier, and based largely on Nat “King” Cole’s ‘Calypso Blues’ and the Rene Touzet Orchestra’s ‘El Loco Cha Cha’ (which is where the ‘duh-duh-duh-der-der’s came from) – was nothing more than one of a bunch of songs that he hoped might bring him more fame and fortune than anything he’d created for his previous employers, Modern Records. But his new home, Flip Records, proved no better equipped for chart hits than Modern. Originally issued as a B-side, ‘Louie Louie’ came and went with no fanfare.

It did, however, work its way up the Northwest Pacific coast, towards Oregon and Washington, where, by the early 60s, it was in the repertoire of several significant local bands, including the Wailers and Paul Revere & the Raiders. A lesser local act, the Kingsmen, cut their shambolic version of the song in early 1963. Its charm lay in its sheer ineptitude and, although it took the best part of the year to do so, it got all the way to #2 on the Hot 100 in the winter of ‘63.

Size guide:
Medium: 38" Chest; Large: 42"; X-Large: 46"; XX-Large: 50"