| Decca Records | |
|---|---|
 | |
| Parent company | Universal Music Group (UMG) |
| Founded | 7 February 1929; 96 years ago (1929-02-07) |
| Founder | Edward Lewis |
| Distributors |
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| Genre | Various |
| Country of origin | United Kingdom |
| Location | Kensington, London, United Kingdom |
| Official website | |
Decca Records is a Britishrecord label established in 1929 byEdward Lewis after his acquisition of a gramophone manufacturer,The Decca Gramophone Company. It set up an American subsidiary under the Decca name, which became an independent company just before theSecond World War. The American spin-off became a subsidiary ofMCA Inc. in 1962.[1] Known for its technical innovations, the British parent company grew to become the second most successful recording company in Britain and celebrated fifty years of existence in 1979, shortly before being sold toPolyGram. Both Decca and its former subsidiary were subsequently acquired byUniversal Music.
Decca and its American spin-off both built up strong catalogues of popular music. In their first two decades, their artists includedGertrude Lawrence,George Formby,Jack Hylton andVera Lynn in Britain andBing Crosby,Al Jolson, theAndrews Sisters and theMills Brothers in the US. Later performers in their popular catalogues included in the USBill Haley & His Comets andBuddy Holly plus in the UKElvis Presley (licensed fromRCA Records),Tommy Steele,Lonnie Donegan,Chuck Berry (licensed fromChess Records),Johnny Cash (licensed fromSun Records),Eddie Cochran (licensed fromLiberty Records), andthe Rolling Stones.
In the classical sphere, Decca became a major player after the Second World War, building up a large catalogue of symphonic, operatic, chamber and other music. Between 1958 and 1965 the company made what has been widely described as thegramophone's greatest achievement – the first complete recording to be released ofWagner's operatictetralogy,Der Ring des Nibelungen (TheNibelung's Ring). Decca's advanced technological expertise offered recorded sound of unprecedented realism in the mid-20th century, and it was an early adapter of digital technology.
The origins of the Decca Record Company were not in making records but in making thegramophones on which to play them. Shortly before theFirst World War the first Decca product was offered to the public: the "Decca Dulcephone" a portable gramophone, retailing at twoguineas (£2.10 in decimal currency, and equivalent to about £250 in 2023 terms). It was manufactured by the musical instrument makers Barnett Samuel and Sons Ltd, a company founded in 1869.[2] There are various theories about the derivation of the name "Decca", but themusicologist Robert Dearling describes it as "a word whose origins are lost".[2]
In the 1920s, the company changed its name to "The Decca Gramophone Company" and it wasfloated on the stock market in 1928.[3]Edward Lewis, a Londonstockbroker, acted for the company, despite his reservations about its business model:
Lewis tried to convince Decca's board that the way forward was to expand into record production and manufacture, and recommended buying out the struggling Duophone Record Company in south London, arguing that "with the well-known Decca trademark and ... distributing organization ... a Decca record would surely succeed where others were failing".[4] The Decca directors were unpersuaded and Lewis raised enough capital to acquire not only Duophone but Decca itself.[4]
On 7 February 1929, the Decca Record Company's first discs were recorded: dance music performed byAmbrose and the May Fair Orchestra.[5] The first classical recording took place four days later at theChenil Galleries inChelsea, and featured theviolist Cecil Bonvallot in an arrangement ofJ. S. Bach'sKomm, süßer Tod.[6] Among the fledgling company's releases in its first year were a set of numbers fromWilliam Walton andEdith Sitwell'sFaçade conducted by the composer and recited by Sitwell andConstant Lambert, and a set ofHandelConcerti grossi conducted byErnest Ansermet, who made more than a hundred recordings for Decca between then and 1968.[7] A premiere recording ofDelius'sSea Drift conducted byJulian Clifford was in less than ideal sound,[8] but marked Decca's first association with thebaritoneRoy Henderson which lasted for the rest of his career.[9]
TheGreat Depression of the 1930s hit Decca hard. Lewis, although he remained nominally merely a board member, effectively took over the direction of the company and at his instigation Decca made substantial cuts in the prices of its records.[10] In 1930, Decca acquired the British rights to the GermanPolydor label, gaining access to a wide range of classical recordings. During the decade Decca also bought the British rights to theFonit [it] andUltraphon catalogues, but sold its French subsidiary toEdison Bell.[11] Decca bought a majority shareholding in the AmericanBrunswick Record Company from theWarner Brothers film studios; its catalogue contained recordings by leading popular artists such asBing Crosby,Guy Lombardo andAl Jolson.[10][12] Decca established an American subsidiary, Decca Records US, in 1934, funded and chaired by Lewis and led byJack Kapp,Milton Rackmil and E. F. Stevens.[13] American Decca boosted its presence in the popular market by signing theAndrews Sisters and theMills Brothers.[13] As theSecond World War loomed, Lewis, foreseeing a freeze of his overseas assets, sold his holdings in the US company.[13]
In 1934, Jack Kapp established a country & western line for the new Decca American subsidiary by signingFrank Luther,Sons of the Pioneers,Stuart Hamblen, The Ranch Boys, and other popular acts based in both New York and Los Angeles. Louisiana singer/composerJimmie Davis began recording for Decca the same year, joined by western vocalistsJimmy Wakely andRoy Rogers in 1940.[14]
In 1935, theCompo Company became the Canadian distributor of American Decca recordings.[15]
Between 1929 and 1938, record sales in Britain fell by eighty-five per cent, and Lewis sought new ways of keeping Decca afloat. He signed popular artists such as the singersGertrude Lawrence andGeorge Formby, the best-selling dance-band leaderJack Hylton and the singerVera Lynn, who later became the first non-American singer to top theBillboard charts.[10][16] In 1935, Decca made the first recording of Walton'sFirst Symphony and in the same year luredSir Henry Wood away fromEMI, although he later returned there.[17][18] Other classical artists recruited by the company included the newly formedBoyd Neel Orchestra in 1934, followed by theGriller Quartet in 1935 andClifford Curzon in 1937.[19] Lewis's biographerPeter Martland writes that "through a combination of Lewis's adroitness, good luck, and a gradual upturn in the global economy, by the time theSecond World War broke out in 1939, it appeared that Decca had weathered the storm".[10]
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Decca had acquired the smallCrystalate record company in the late 1930s, and with it its sound engineersArthur Haddy andKenneth Wilkinson, as well asits studios inWest Hampstead.[20] Recording continued at the studios throughout the Second World War. Although production was hampered by a shortage of theshellac from which records were made,[n 1] for Decca the positive results of the war far outweighed the disadvantages. Haddy and his team were moved from making commercial recordings to developing vital technology for the war effort. They were tasked with making recording equipment to detect the sonic differences in the water movement around German and British submarine propellers. As the relevant differences were at the high end of the frequency range, unprecedently sensitive equipment had to be invented, and this the Decca engineers did. This was not only an important contribution to the war effort, but made possible greatly enhanced gramophone recordings when the war ended. "We'd got the goods", Haddy later recalled.[20]
The American offshoot of Decca was less affected by the war than the British company. It bought out Warner Brothers' residual stake in Brunswick and floated as an independent company on the New York Stock Exchange in 1942. The company's popular music catalogue now included recordings by, among others, theInk Spots,Jimmy Dorsey,Judy Garland,Count Basie,Louis Armstrong andElla Fitzgerald.[13] In 1942, the company released the first recording of "White Christmas" by Bing Crosby. He recorded another version of the song in 1947, also for US Decca; it became and has remained the world's best-sellingsingle.[22][23] American Decca pioneered original cast albums of musicals with the Broadway cast ofOklahoma! in 1943, and other shows followed, includingCarousel,Annie Get Your Gun,Guys and Dolls andThe King and I.[13]
On 8 June 1945, Decca announced that its ffrr (full frequency range recording) system had been "in daily use for the past twelve months".[24] The company's publicity manager, Francis Attwood, suggested a new trademark consisting of the letters "ffrr" coming out of a human ear. This was adopted and Lewis later observed that Attwood's design was "to become of immense value".[25] The dramatically enhanced frequency range now possible prompted Decca to move its main London recording venue from theWest Hampstead studios to the acoustically superbKingsway Hall in 1944.[26] Ansermet conducted what Dearling calls "the first important ffrr release",Stravinsky'sPetrushka, recorded there in February 1946.[27][28]
Another technical advance that greatly benefited Decca was the invention of thelong-playing record (LP), pressed on vinyl rather than shellac and playing for five times longer than78 r.p.m. discs. The technology was pioneered in the US byColumbia Records, and in Europe by Decca. From 1948 to 1950, Decca concentrated its efforts on exporting LPs for the American market, and it was not until June 1950 that Decca LPs became available in Britain. The playing time of LP made recordings of complete operas considerably more viable than hitherto, and Decca recordedMozart'sDie Entführung aus dem Serail (The Seraglio) in Vienna in June 1950 andWagner's four-and-a-half-hourDie Meistersinger (The Mastersingers) in 1951–52.[29] Decca's main British rival, EMI, comprising theColumbia,His Master's Voice andParlophone labels, lagged behind, having initially reached the conclusion that there was no future in LP, devoting itself instead to an unsuccessful two-year attempt to perpetuate the 78 format.[30]
Most recording contracts had expired or lapsed during the war, and consequently many eminent artists, previously exclusive to rival labels, could be enticed by Decca's technical edge. The company instituted an ambitious programme of international classical recordings in many European centres, building up an artist roster comparable with those of its pre-war competitors. For the first time since the 1930s, Decca was able to resume full-price releases. A mainstay of the orchestral catalogue was provided by Ansermet and hisSuisse Romande Orchestra inGeneva, who recorded for Decca from 1949 to 1968.[31]Peter Pears signed with the company in 1944,Kathleen Ferrier in 1946,Julius Katchen in 1947 and theD'Oyly Carte Opera Company – hitherto exclusive to EMI – in 1949.[32] In 1950, theVienna Philharmonic, also contracted to EMI until then, entered into an exclusive contract with Decca.[33] Other former EMI artists who joined Decca wereWilhelm Backhaus andWilhelm Kempff.[33]
From the late 1940s onward, the American Decca had a sizeable roster ofcountry artists. The main architect of American Decca's success in country music wasOwen Bradley, who joined American Decca in 1947, and was later promoted to vice president and head of A&R for the Nashville operations in 1958.[34]
In 1947, Lewis, finding the now independent US Decca uncooperative in distributing British recordings, set up a new American subsidiary,London Records.[35][36]
Despite having the Vienna Philharmonic under contract, Decca began the decade at a disadvantage to EMI so far as orchestral recordings were concerned. On theHis Master's Voice label EMI hadSir Thomas Beecham'sRoyal Philharmonic and on ColumbiaWalter Legge'sPhilharmonia. The London orchestras available to Decca were theLondon Symphony Orchestra andLondon Philharmonic Orchestra (LPO), described by Decca's discographer Philip Stuart as "in rather run-down condition in the post-war years".[37] Among the Decca recordings with the LPO is a cycle ofVaughan Williams's symphonies, conducted bySir Adrian Boult in the presence of the composer between 1952 and 1956.[38][n 2] The Vienna Philharmonic recording ofDie Entführung aus dem Serail conducted byJosef Krips with singers from theVienna State Opera was the first of a long series of opera recordings.[39]
After I had heard music in stereo for the first time, I did not need to be convinced of its potential: quite apart from its purely directional qualities there was a sense of spaciousness never before heard in recorded sound, and the creative opportunities it offered – especially in opera – seemed unlimited.
Stereophony – a system for recording and reproducing sound using separate microphones feeding separate loudspeakers in playback to give a spatial effect – had been known for many years and had been used in the cinema from the 1930s.[n 3] When the prospect emerged in the mid-1950s that domestic equipment could be manufactured to reproduce stereophonic recordings, Decca began recording in stereo, first in Geneva on 13 May 1954, experimentally in London from December 1954, and in Vienna from April 1955.[42] Decca's first stereo recording, produced byJames Walker, wasRimsky-Korsakov'sAntar symphonic suite.[43]
The producerJohn Culshaw was a strong advocate of stereophony, but not all his Decca colleagues agreed. Launching stereophonic recordings only five or so years after the introduction of LPs would require considerable fresh outlay by record producers and purchasers alike: the former needing to re-record all their back catalogues and the latter to buy new playback equipment.[44] It was not until 1958 that Decca began issuing stereo recordings, both in Britain and in the US.[45]
In popular music American Decca assembled a substantial list of performers in the 1950s, includingBill Haley & His Comets – whose 1954 "Rock Around The Clock" was a big success, andBuddy Holly. British Decca hadTommy Steele andLonnie Donegan. British Decca also licensed from independent record companiesChuck Berry,Johnny Cash,Eddie Cochran andJerry Lee Lewis which were issued in the UK on the London label.[21] In June and July 1957 American Decca released the soundtracks fromHecht-Hill-Lancaster Productions' filmSweet Smell of Success, which, exceptionally, had two separate soundtracks, each featuring completely different music.[46][47][n 4] The acts from American Decca and itsCoral Records subsidiary were issued by British Decca onBrunswick Records and Coral. British Decca also issued licensed American records on the London label.[50]
Beginning in 1951, the independent American Decca, led by Rackmil, bought shares inUniversal Pictures, holding a controlling interest by 1954.[13] The two companies merged withMCA in 1959.[11] The AmericanRCA label severed its long affiliation with EMI in 1957, and entered into an alliance with Decca, which took over the British marketing and distribution of RCA recordings, including top selling popular recordings by artists includingElvis Presley.[51] An agreement between the two companies allowed artists exclusive to one label to record for the other, and Decca producers and engineers made nearly 200 recordings in Europe to be sold under the RCA label. Artists thus recorded includedPierre Monteux,Arthur Rubinstein,Leopold Stokowski,Jascha Heifetz,Joan Sutherland,Birgit Nilsson andAndré Previn.[52] Decca production teams also worked on recording sessions for the company's subsidiary but largely autonomous labelsArgo and, later,Oiseau-Lyre.[53]
Also in 1951, American Decca bought its Canadian distributor the Compo Company.[15]
1958 saw Decca embarking on what has been described in three continents as the greatest recording ever made: Wagner'sDer Ring des Nibelungen (The Nibelung's Ring).[n 5]The recording was conceived and produced by Culshaw, who engaged the Vienna Philharmonic, the conductorGeorg Solti and leading Wagner singers includingBirgit Nilsson,Wolfgang Windgassen,Hans Hotter andGottlob Frick and, in roles they did not play onstage, well-known singers such asKirsten Flagstad,Dietrich Fischer-Dieskau andJoan Sutherland. Culshaw and his engineering colleagues set out to capture on disc performances that would recreate in listeners' minds the drama that Wagner intended, compensating for the lack of visual images with imaginative production, making use of the newly available stereophonic technology.[57]
American Decca actively re-entered the classical music field in 1950 with distribution deals fromDeutsche Grammophon andParlophone.[58] American Decca began issuing its classical music recordings in 1956 whenIsrael Horowitz joined Decca to head its classical music operations.[59] To further American Decca's dedication to serious music, in August 1950, Rackmill announced the release of a new series of disks to be known as the "Decca Gold Label Series" which was to be devoted to "symphonies, concertos, chamber music, opera, songs and choral music."[60] American and European artists were to be the performers. Among the classical recordings released on Decca's "Gold Label" series[61] were albums byLeroy Anderson, theCincinnati Symphony Orchestra conducted byMax Rudolf and guitaristAndrés Segovia.
In the 1960s, Decca consolidated its position as the only British record company to rival EMI. By the end of the decade Decca had 22.8 per cent of the British LP market, second only to EMI, which had 26.5 per cent.[62] Technically it surpassed its competitor – in 1965The Times commented that Decca's engineers were incomparable[63] – and it had expanded its overseas operations to include not only the completion of theRing cycle but extensive repertoire fromKarl Münchinger and theStuttgart Chamber Orchestra in baroque music, Solti andTullio Serafin in Italian operas with theSanta Cecilia Academy Chorus and Orchestra, Sutherland in thebel canto repertoire, and the Vienna Philharmonic in operatic and purely orchestral works withHerbert von Karajan and in aBeethoven cycle conducted byHans Schmidt-Isserstedt.[64]Luciano Pavarotti made his first recordings in 1964.[65] Legge's Philharmonia became the self-governing New Philharmonia in the same year,[66] and made more than 70 Decca recordings, with conductors includingBenjamin Britten, Stokowski,Carlo Maria Giulini andClaudio Abbado.[67] Britten, both as pianist and conductor, maintained a long association with Decca, recording most of his major works as well as those of other composers.[68] Culshaw left the company in 1967 to become head of music for BBC Television, but Decca had a team of experienced producers to replace him, includingErik Smith,Christopher Raeburn andJames Mallinson.[69][70]
In 1962, MCA completed its acquisition of Decca Records Inc. with American Decca stock exchanged for MCA stock to American Decca stockholders.[71]
In popular music British Decca missed some opportunities in the 1960s, including blocking the release ofRay Peterson's "Tell Laura I Love Her" in 1960,[72] and rejectingthe Beatles in 1962. According to legend the Decca executiveDick Rowe told the group's manager, "Guitar groups are on the way out",[73] but in fact the Beatles auditioned for Rowe's assistant,Mike Smith,[74] who – as his opposite numbers atHis Master's Voice and Columbia had already done – turned the group down.[75] The Beatles were later taken up byGeorge Martin of the smallParlophone branch of EMI.[76] Decca did not repeat the mistake withthe Rolling Stones, whom the company signed up in 1963.[77] In 1966, Decca set up a "progressive" subsidiary,Deram Records, which became home to bands like theMoody Blues, whoseDays of Future Passed became one of the best-selling albums of its time.[78] Others recording for Deram in the 1960s wereAmen Corner,[79]Chicken Shack[80] andTen Years After.[81] Decca lost an important source of American recordings whenAtlantic Records switched British distribution toPolydor Records in 1966, so that Atlantic could gain access to a greater number of British artists.[82]
In 1966, The American entity Decca Records Inc was dissolved and from that point on, Decca Records was a division of MCA Inc.[83]
In 1968, American Decca parent MCA foundedMCA Records in the UK which took over the handling of American Decca material as well as MCA's sister labelsKapp Records andUni Records.[84]
In 1970, American Decca's Canadian subsidiary the Compo Company was reorganized into MCA Records (Canada).[85]
British Decca's fortunes declined during the 1970s. Lewis and his principal associate Maurice Rosengarten were growing old and less interested in new talent.[86] Culshaw cited as an example Rosengarten's opposition in the previous decade to the signing of Pavarotti because it might upset the ageing tenorMario del Monaco, who had been recording for British Decca since 1952.[87] The producerHugh Mendl had attempted at the end of the 1960s to convince Lewis that the company needed some modernisation of its structure and practices, but Lewis thought Mendl's ideas revolutionary and nothing was done.[78]
Despite what Culshaw dubbed the hardening of British Decca's arteries,[88] on the classical side the company launched two new labels in 1974. James Mallinson's "Headline" series was devoted to contemporary music and during the rest of the 1970s issued recordings of works by, among others,Berio,Birtwistle,Cage,Henze,Ligeti,Maxwell Davies,Takemitsu andXenakis. The "Florilegium" label was dedicated to early music, in competition withArchiv andDas Alte Werk.[45] The company continued to lead the field in recording technology. In the US and Europe companies had been experimenting withdigital recording for some years. In the US the small companyTelarc made the first commercial digital recordings in 1978. In the same year Decca developed its own digital recorders for recording, mixing, editing, and mastering albums. The company's first digital recording was made in Vienna in December 1978: the Vienna Philharmonic, conducted byChristoph von Dohnányi inMendelssohn'sItalian Symphony.[89] During 1979, the new system was used in Tel Aviv from March, the US from April, London from June, and Geneva from December. It superseded analogue in the US by late 1979, and elsewhere by mid-1981. In May 1979, Decca made the world's first digital recording of an opera,Fidelio, conducted by Solti with hisChicago forces.[90]
In the 1970s, British Decca's popular catalogue had fewer substantial additions than previously. The Rolling Stones left to set up their own label in 1971 and the Moody Blues were the only international rock act that continued to record for Decca.[91] Among the company's major commercial successes of the decade wasDana's two-million selling single, "All Kinds of Everything", issued on British Decca's subsidiary labelRex Records.[92] New recordings by artists familiar from the previous decade, includingthe Bachelors,[93]Val Doonican,[94] andEngelbert Humperdinck, continued to sell well.[21]
In his memoirs Culshaw wrote of "an era of decline", and lamented the missed opportunities of Lewis's later years, when his entrepreneurial flair and his instincts for the market had been overtaken by a cautious conservatism.[95] In theOxford Dictionary of National Biography, Peter Martland writes of Lewis: "Like many who create, build, and retain close personal control over large enterprises, Lewis was unable to appoint a successor or relinquish control of the business. As a consequence, in 1980, days before his death, the business, then in the grip of a serious financial crisis, was sold".[10] Decca was bought by the German-Dutch conglomeratePolyGram. The Decca pressing plant in New Malden, the studios in West Hampstead and Decca's headquarters in central London were all closed down.[21]
In 1971, MCA established MCA Records in the United States, combining American Decca, Kapp and Uni Records with the three labels maintaining their identities.[96] American Decca also shut down its classical music department in 1971.[97]
In 1973, MCA Records consolidated its three American labels, Decca, Kapp and Uni and were absorbed into the MCA label.[98] They hired veteran US Decca producerMilt Gabler to supervise the reissue of albums originally issued on the three labels on the MCA label.[99]
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After being absorbed by PolyGram, British Decca continued as a separate label. It concentrated chiefly on the classical andcrossover repertoires. During the 1980s there was some activity in popular music, with hits fromBananarama,Bronski Beat,the Communards andFine Young Cannibals,[21] but as a classical label British Decca was a stronger presence, making numerous records with Solti in Chicago, theMontreal Symphony Orchestra conducted byCharles Dutoit, theCleveland Orchestra withRiccardo Chailly, Dohnányi, and a long-time British Decca artistVladimir Ashkenazy, and soloists includingKiri Te Kanawa,Renée Fleming,Pascal Rogé,Joshua Bell,Cecilia Bartoli andJean-Yves Thibaudet.[100] Among Decca's later classical signings are the cellistSheku Kanneh-Mason and the pianistBenjamin Grosvenor.[21]
British Decca's prominence in the crossover repertoire dates from 1990 when Pavarotti's recording of the aria "Nessun dorma" fromTurandot was used by the BBC to introduce its coverage of theFIFA World Cup. When Decca's recording of the tournament's opening concert performance by Pavarotti,Plácido Domingo andJosé Carreras was released, it became the biggest-selling classical album of all time. The three tenors' record paved the way for Decca's crossover artists such asRussell Watson,Andrea Bocelli,Katherine Jenkins andAlfie Boe.[21]
In 1994,MCA Nashville revived the Decca label as a country music label.[101]
Both British Decca and American Decca have come under the proprietorship of a single owner. PolyGram, which bought British Decca in 1980, and MCA, which bought American Decca twenty years earlier, were acquired by theUniversal Music Group in 1998. The consolidation combining both American and British Decca under one parent company led to the shutdown of the Decca country music label in the USA and theLondon Records classical music arm renamed Decca Records in North America in February 1999.[102] The catalogue ofPhilips Records, also owned by Universal, has been merged with British Decca's.[11] Universal also ownsDeutsche Grammophon, which remains a separate label within the group and also manages the American Decca classical music catalogue.[103][104] In 2011 Universal donated 200,000 of its American Decca master recordings from the 1920s to the 1940s to the United StatesLibrary of Congress.[105]
In 2017, Universal Music revived theDecca Gold American classical music label under the management of theVerve Label Group.[106]
Selected affiliated labels
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